Freedom and intuition permeate the artists’ production, guiding their gestures to create and organize formal elements in an experimentation beyond painting, drawing and engraving, in which the construction of the work is free of rules, proposing an intuitive image of the world.

In Yasmin Guimarães’ paintings, gesture and matter guide the composition. Dots, brushstrokes and cloud-like patches of diffuse color seem to capture the evanescent poetry of abstract landscapes, harking back to the artist’s early practice of conceptual photography. Eliminating the notion of perspective, the delicate colors of the paintings seem to float on the plane of the canvas, sometimes coexisting with empty fields of linen or transparent voile. Generally constructed in a centrifugal movement, Yasmin Guimarães’ works translate the energy of diverse experiences, variations in the light of places or vibrations of emotional states, making the invisible visible in an almost musical arrangement.

In conversation with the reflection on Yasmin Guimarães’ creative process and the reception of art and life, Ana Takenaka’s prints and drawings translate the joy of encounters and the daydreams of life, echoing the statement by German artist Max Liebermann: “Drawing is the art of abandonment”.

In the artist’s works, lines carry impulses or breathe, while words, symbols and shapes float in the void. Crafting her prints as if they were rituals, the artist brings the origins of her Japanese ancestors to paper, considering the support as an integral part of the process and using formal elements in her research as independent plastic elements, sometimes points of convergence and sometimes counterpoints.

The experimentation present in Ana Takenaka’s production is also revealed in her desire to question and go beyond the limits of printmaking, altering the classic immutability of the matrix through inking and cleaning procedures, using bands and colored shapes of crepe tape or chiné collé and playing with graphic elements and the materiality of paper.

Ana Takenaka and Yasmin Guimarães act as vectors, collecting impressions of life and nature to provide visions of other possible worlds. Exploring the autonomy of the plastic field, its lines, dots, spots and voids, the artists propose, in Between Land and Sea, a playful reading of potential narratives in which freedom and the present moment are the guides, thus creating a change of perspective. This operation refers to movement, in particular eye movement, because in order to focus on each piece of work you have to abandon the old, thus opening your gaze to the magic of the now. In this transitory world created by Ana Takenaka and Yasmin Guimarães, the flow, the vibration, the becoming of things create a space where colors, luminosity and lines can flow like the notes of a musical composition, like the wind that joins land and sea.

“In art, seeing is not as important as making visible.”
[Paul Klee]