Paul von Poser TEXTS - Paul von poser

THE SICK ROSE

WAGNER NARDY

2020

DRAWING, TIME AND CITY

MATHEUS ALCÂNTARA SILVA CHAPARIM

2020

Inhabiting the urban space, traverse its interstices, discover other territories… Many experiences actively involve those who have a way of apprehending and exploring the city. In the field of art, the route was widely used by avant-garde groups during the 20th century, especially in France.

In the 1920, the Dadaists made their excursions a criticism of traditional forms of representation. The Surrealists, then, sought the urban unconscious zones through wandering. Already in the years 1950/60, the Situationists created the drift, an investigation technique of affective geography (called psychogeography), to develop the idea of “construction of situations”; a way to contest the effects of the spectacle society.

No brazil, important figures practiced walking, like João do Rio, Flávio de Carvalho and Hélio Oiticica, having been influenced by European thinkers and artists of that time. This history of “urban wanderings” is very well presented by Paola Berenstein Jacques in the work Elogio aos Errantes (Salvador: EDUFBA, 2012).

Recently walking has also been explored by many other artists. In 1995, the Stalker group made a full tour of the abandoned areas of Rome, in Italy. One of its members, architect and professor Francesco Careri, wrote the book Walkscapes - walking as an aesthetic practice (Sao Paulo: Editor G. Gili, 2013), in which he narrates a little of what that experience was. Paulo von Poser read Walkscapes and found in his pages the impetus to carry out his own “erratic” reading of São Paulo. Referring to the nautical metaphor of situationist drift, the artist browsed photos and historical texts, for future architectural projects and on the current city streets – distinct times that dialogue in the lines of his drawings. The breezes of yesteryear also appear in the interaction with the public, that updates the work with your memories. Getting carried away by the encounters and affections of this great archipelago that is the metropolis of São Paulo, the “à deriva_sp” exhibition seems to echo von Poser's latent desire to get lost in the city's phenomena so that (re)straighten your way as an artist.

Matheus Alcântara Silva Chaparim
Master's student of the Graduate Program in Architecture and Urbanism at UNESP

The DRIFT AS FREEDOM OF EXPERIENCE

IAN DUARTE

2019

Unravel THE CITY BY DESIGN

KHARTOUM MARCOS

2019

SÃO PAULO | Von poser

IAN DUARTE

2018

São Paulo has been designed by countless artists since its foundation - of Frei Galvão the Vallandro Keating, through Jean-Baptiste Debret -, the fascination with the city is undeniable and appears in several works, precious record of its evolution and important reflection tool on the urban landscape. São Paulo, Paulo von Poser not only draws the city, but makes it his atelier.

To lead us on a very personal Sao Paulo, the artist presents a concept dear to your search: to drift, psychogeographical procedure proposed by the Situationist Movement in order to study the effects of the urban environment on our psychic and emotional state. In the record of his journeys, is led by the very urbanity - the point of contact with the Situationists, which proposed the abolition of art as specialized activity: overcoming come for the transformation and full experience of the urban environment.

In contrast to a Sao Paulo asking hurry, and we all know, surprises in the hammock: "free time", reflection on the possible and necessary that the host city can also provide. poetic reference to installation "Riposatevi", - Costa's project for the Milan Triennale 1964 - and the concept of a non-specific place, symbolic element's own drift propose another city observation time, Maximum platform for the exercise of freedom proposed by the situationists.

In São Paulo von Poser, next to large panoramas and known places, live small oratories, representation of the invisible coexistence of the sacred and profane time in the city's dynamic, next to cases with references to their masters, essential in their formation as an artist. The exhibition also takes a literal urban dimension, in that it proposes activities around the city throughout its two-month - "free time" will cover important spaces for artist, and will be completed in drawing classes to the public.

Metropolis of multiple identities is certain that there will never be one definitive São Paulo, given its absolute ability to reinvent. In this environment where spatial references are constantly changing, the perception of the city certainly passes through the field of experience, masterfully expressed in vivo and careful design of Paul von Poser.

Ian Duarte

Architect and Gallerist - Verve Gallery

ORBITS - RAISS PAULO E FLORIAN VON ASK

PAUL KASSAB

2013

Paulo von poser - BOYFRIEND CITY

CELSO FIORAVANTE

2011

Happiness walks the walk
Praça Antonio Prado in
Are 10 Blue Hour
The coffee goes high as the morning of skyscrapers
(Poem "Aperitivo", the Oswald de Andrade)

The coffee goes high as the morning of skyscrapers
(Poem "Aperitivo", the Oswald de Andrade)The distance really is not allied Love, but this statement loses some of its force when the given example is the relationship between Paul von Poser and the city center of Sao Paulo.

Born and raised Santo Amaro (region where even been done plebiscite to emancipate the metropolis), in 19 October 1960, and now living on the margins of Guarapiranga, Paul does not measure time and efforts to woo the city center. The artist shows his congested arteries, crosses Sol chuva, carries the weight of backpacks and bags only to find the center of Sao Paulo again.

Once there, what a superhero love, Your next step is to scale your buildings, achieve their balconies, reach the top and, ultimately, portray your love in all angles. Are 360 ° of admiration.

Dali do high, Paul sees further, can admire the entire body of the city, feel your heartbeat, observe office boys and anonymous executives, passing hasty and that little notice in its beauty. The metropolis returns to province.

Do alto, Paul realizes that his beloved older with dignity and furtive kisses. But fleeting encounters, that last light of the sun and the expedient of offices. Paul needs to go down.

Those moments will remain drawings, in which Paul declares his passion to Anhangabaú Valley, the Teatro Municipal, Tea the Viaduct, Largo São Francisco, Praça do Patriarca, à Rua 15 November, to Copan Building…

Childhood sweetheart
The loving journey of Paul von Poser through downtown yet begun in childhood, in years 60, and the hands of parents, Fernando and his mistress Zelia, who came to the shop on Saturdays. "We lived Santo Amaro, it was almost another city. He loved going with my parents and go to the shopping Mappin and beg for trinkets hardly win… Exit the parking lot of the building Zarvos, on the streets of Consolation, pass in front of Mario de Andrade Library and finally see the Municipal Theatre there in the street Xavier de Toledo… She loved holding hands with my mother in the crowd, feeling safe and guided. I've always loved the crosswalks, lists on the floor and umbrellas bumping… This stunning and hypnotic intersection, this choreography hurry on sidewalks, passes through the galleries amid storefronts, the rise and fall of the elevator Mappin… Third floor: toys and stationery…”, recalls the artist.

But to demonstrate their love for the city Paul was even louder and flew through the skies aboard the airship Ventura, which until recently, before the Clean City Law, he advertised Good Year by city skyscraper. Dali do high, Paul and photographer Cristina Guerra recorded the widest of all urban landscapes: the city of São Paulo.

It is these memories and the memories of other updates that Paul in his drawings and photographs. With her expressive features, rapid, Eager and inaccurate, the artist retraces his memories, draws a poetic iconography of the city and tries to open the eyes of passersby to the harsh beauty of its corners.

Love of youth
A passion for design was born in 1978, when Paul von Poser joined FAU (Faculty of Architecture and Urbanism of the USP). "FAU was in the act of drawing appeared… It was learned that the FAU to have friends ", says the artist, that there graduated architect, in 1982.

Among his teachers of those early days, Paul speaks fondly Flávio Motta, that was never his formal teacher, "But gave master classes and concerts aesthetics will never forget". Renin and still recalls Katz Odiléa Toscano, in drawing and printmaking, Ana Maria Belluzzo, by do you see the relationship between art and urban life.
Another striking memory was his meeting with the teacher, teacher and colleague Flavio Empire, it has been with artist and scenographer he began teaching.

As their love for city, Paul's love for drawing was not saved, but has always been shared with tens, hundreds, thousands of students who met in institutions like the Centro Cultural São Paulo (in the office of arts), the educational sector of the Bienal de São Paulo (18Th and 19th edition, in 1985 and 1987, cured by Sheila Leirner), the very FAU-USP (when did Masters), the Faculty of Architecture of Fine Arts (then located in the building of the Pinacoteca do Estado), and FAAP (a course in graphic design), the School of Architecture and Urbanism of Saints (adoption by your city, where he teaches there 25 years ago and where he painted the ceiling of the foyer and the audience's Theater Guarany) and, more recently, School City and the Casa do Saber.

Amor maduro
But behold, to 50 anos, with heart already marked by so many bygone loves and coming, future and past tenses, here comes a new discovery, a new gift, a new rescue: a gravura. Herself, who had previously flirted with the artist, returns reinvigorated, filled with new perspectives and enthusiasm.

Encouraged and directed by the writer Claudio Vasques, Santos, plunges into the copper plates on them and reveals new images of its known old, the city and roses, from various materials and techniques, as drypoint, etching, middle-tints, Rats…

"I write with my niece Vic a video about my little 'script covers'. I bought two sheets of float in the House and went to the Praça Antonio Prado, where recorded with drypoint tree in the square, the large building and then the peak of the Jaragua… I am also going by bus to Santos and I will continue recording on the same plate the Serra do Mar and then, the video, processes in metal acid, in ink and press… After the back plate with print on paper… I want to make a short documentary that the comment that the engraving on metal added me on the perception of the city ", Paul says about their new paths in the picture.

Eternal Love
The city of São Paulo, drawing and printmaking share space in the hearts and imagination of Paul von Poser with another passion, also lasting: roses. To elas, Paul has already made thousands of drawings, photographs and prints and they devoted some individual exposures.

The earliest memories of the flower refer to childhood with her maternal grandmother, Edith, who painted roses, but his interest in flower manifested much later. "The first rose I drew was 84, to 24 years. "

Paul began to draw roses because they lived alone in São Paulo, and his company were the best flowers. The hobby turned into something serious 1989, when his drawings appeared in the Museum of Contemporary Art Calendar.

De lá for Breast Cancer, Paul played with the pencil, Acrylic, chalk, pastel seco, nankin, wood trimmed, wrought iron, ceramics, brass and copper fastened on paper, fabrics, tissues, Dishwasher, dishcloths, shirts, Havaianas and packaging soap.

"But I have to remember one fact: suddenly emerged two things together: the rose and the city of São Paulo. A union of opposites contained therein, cement and petal, concrete and poetry. But even that comes to mind, sincerely, is the day I was born. It was weird. São Paulo was the first grandchild of a gaucho family. I think this is the birth of the rose in São Paulo. That junction was I who brought, I must admit. Eu vinguei. Survived… Today drawing my infatuation with everything rushed, with things, with people, life and art itself. My job is as an offering of all that I am and live ", summarizes the Artist.

To immediately look, the work of Florian Raiss and Paul von Poser can prove opposites. The limitations and conflicts of man versus the immaculate love of roses or well defined shapes City. However, after a deeper observation, notes a strong complementarity indicated by the research of human beings in their subversion by representations that depict their expectations. At rational resistance to be animal impulses, humanity is expressed through its symbols, its metaphors.

Orbits on display, the artists converse on a surface without beginning or end, enhancing the perceived image space and allowing analysis by the viewer.

Necessary condition for the assertion of the orbit, the influence of a star, ou hug, on the other was used so subtle. Florian and Paul thought of 17 spheres as, by the way, They make the viewer can never see both sides simultaneously, in other words, only part of the truth is revealed, while the other is formed by the imagination of the one who sees the work and recreate according to their reality.

Thus we return to the subjects studied by two artists for more than 30 anos: man as author and revealer of his own condition and its surroundings. The imagination not as a state, but as human existence itself, como definiu William Blake.

CELSO FIORAVANTE
Journalist and Art Critic

THE BODY AND DASH, GENDER AND THE BEAUTY homoeroticism PAUL VON POSER.

MARCIO ZAMBONI

2009

In a macho country like Brazil, this young and talented artist gaucho has the courage, sublime, making the male body praise. Renaissance artist, for him the man is the center of everything. I admire that and I participate this idea, express even in the Gospel that Christ announced. The male body is a powerhouse of strength and beauty and moral hypocrisy of many attempts to deny. It's no use!

It was in this way that the critical art summarized Olney Kruse, in an article published in the extinct Magazine Interview, exposure of the proposal "The model and thought", the São Paulo artist Paul von Poser, displayed in Sadalla Gallery (then located in Bela Vista, central region of São Paulo) in 1987.

The exhibition consisted of an extensive series of male nudes produced with different techniques was not just the result of a professional relationship, but also erotic-affective artist with a unique model, main theme of the series and synthesis of all other, in the words of Carlos Von Schmidt for Arts Magazine.

It is interesting to note how the exposure, it can clearly be read as the affirmation of a homosexual relationship and a homoerotic desire, It was at no time seen as homoerotic by critics, the owner of the gallery, curated by, the press or market, or recognized as such by the emerging movement activists for gay rights.

The lack of association between male nude and homosexuality in the context of this exhibition draws our attention to two issues.

First to the historicity of homosexuality as a key to understanding of cultural phenomena or more specifically, in this case, artistic expressions. Remember that sense the close correspondence between the development of a specialized market "GLS" and recognition of certain assets and practical as typically gays. The visibility of the "cause LGBT" in dialogue with the work of militancy appears to be significant also for the amplification of the explanatory power of (homos)sexuality.

In second place (but not in the background) It seems particularly interesting the possibility that the artistic expression of homoerotic desire can manifest without being associated with homosexuality, without addressing a specialized homosexual public or state explicitly how homoerotic. It is necessary or desirable to the sexualization of artistic production? Art must follow the footsteps of market segmentation or the subjects of rights policy?

It is important in this sense to look for certain elements of aesthetics developed by Paulo von Poser in the "Model and your thinking" that seem to go against an explicit sexualization of artistic expression. It is worth noting that the male nude formulation in terms of a classic mode of visual arts (the nude model drawing) already start moving the place of the naked body in the series. Also located on dash, the posture of the figures and exposing the composition a viable away from conventional forms of homoeroticism of expression in the visual arts and media, particularly in pornography. It is not just the body, but the thought of the body and on the body.

The denial of (homos)explicit sexualization of artistic expression does not mean a return to the sphere of homoeroticism "unsaid" as well as specialized sexualization of art seems to mean the release of (homos)sexuality. Is-is, instead, the search for a language capable of expressing the uniqueness of a feeling not limited to the assertion of their particularity. And that language was, in the case of "The model and thought" the praise of the male body.

This poster is in the context of the research "Homosexualities at higher layers of São Paulo", I have been developing since June 2009 under the guidance of Laura Moutinho and with funding from FAPESP.

MARCIO ZAMBONI

Bibliography

FRANCE, Isadora Lins. "On 'ghettos' and 'labels': tensions in the GLS market in São Paulo. "Cad. Capping [online]. 2007, n.28.

GARCIA, Wilton. Homoerotismo & image in Brazil. 1. Ed. Sao Paulo: Nojosa issues, 2004.

Paulo von poser, A MASTER OF GUARANY

FLÁVIO VIEGAS AMOREIRA

2008

April 1886. The superstar Sarah Bernhardt says goodbye to Oscar Wilde in Bordeaux embarking on tour in South America: received by the emperor of Brazil D. Pedro II, interpreta Fedra, de Racine (My Favourite Tragedy), no Rio, and perpetuates its passage in Santos when he was injured onstage at Guarany: the imposing São Paulo theater would be marked to represent the splendor of Coffee, of Belle Epoque and urbanization. Thus relates in his diary: “There is a magnificent place, even with yellow fever, Santos: where the sea can be seen from a virgin forest in all its splendor”.

The Guarany, Established in 7 December 1882, civilization was of a rare warmth and a swampy city with everything to be done, at the expense of slave sweat and the coming of the immigrants who toil reporiam the captives freed.

Benedicto Calixto gained notoriety with its frescoes and sumptuous decor. From construction to its revival from the ashes, Guarany had helped support the civil society maintains and impeding the extinction. Reerguido, I felt great joy in knowing that history refilled your dash in our fate; Calixto's work was now in the hands of one of the most precious original Brazilian artists: Paul von poser, highly sensitive architect, meticulous restorer and painter more characteristic of a country called Sampa. Von Poser remakes on large screens or meticulous ink drawings of the city or the route of Rugendas Franz transmodern Post.

“There is nothing more difficult for a painter than to paint a rose, because before it needs to forget all the roses that were planted”, diz Matisse. Could be the cultivator of roses cosmic: Von poser.

No Guarany, without being hyperbolic, their nights spent over scaffolding are worthy of a Michelangelo of the tropics. Present in biennial, set designer, multimedia shaker, is able to pictorially scan the metropolis of an airship from the air of Paulicéia with the same skill millimeter delighted that blooms with roses synesthetic: more than the painter of roses and Sampa, and explorer of the soul through rare perspective, tempering and “rumor” City of colors.

In his work, Paul von Poser makes harvesting the evanescências, sows from infinity transience: is the painter of a time torn petals, non-accumulator of debris: creator of beautiful deep as a laborer “viscerally of regular structures” (Levi-Strauss).

Santos! When you glimpse the dome and walls of a microscopic intricacy under the aegis of Carlos Gomes and José de Alencar, have the dimension of the effort made by this artisan concrete poetry: the carved chromatically undying art in Piazza Andrada will tell us: a genius passed through here…Paul von Poser has been present in Brazil for Santos.

Calixto should be saying amen.

FLÁVIO VIEGAS AMOREIRA
literary critic

ARTIST OF ROSES AND THE CROWD: Von poser

MULBERRY FLÁVIO

2008

Paul von Poser is one of Brazilian artists that most concern me: Few reflect content with such mastery by remaking the continent obsessed route, transmodern of signs in the reflection of their desdobraduras. Sampa is more metonymic metropolis Globe: without topography, no wider horizon is able to prove in its entirety by the more secluded parts of rhizomes or fluids.

Is this Sampa Von Poser: Precious angle, fleeting glance of a blimp or impersonal suite of a luxury hotel. The cause for effect, content by continent (I emphasize) provided by the object that is made equipment:
the snapshot is retained metaphor for our bewilderment.
Impossible not to quote Walter Benjamin on the artwork: “(…) nature that speaks to the camera is completely different from talking to the eyes , mainly because it replaces the space where the man knowingly acts by another where its action is unconscious” .

Immersed / emerged, Kinetic: reminds me of all 'profiles' that retain Sampa; the ultimate impact of Copan was gore from the terrace of a “Center Maria Antonia”: the great national art is experienced in Sampa, Von Poser is one of its most intuitive Pathfinders. Far beyond the painter of roses! Now is a Benedito Calixto rebuilding “Teatro Guarany” Santos almost 150 years in animistic load meticulously retouched by this architect who teaches in the streets where the poetic concreteness is night / day built and transmuted.

I think of when I read Paul “Invisible Cities” Italo Calvino and a sentence of Matisse who sensed that sweet universal paulistano done the density of his work: “There is nothing more difficult for a painter than to paint a rose, because before that he needs to be forget all the roses that were ever painted.” There Art, There are artists: delineators tessituras who ruminate persistence of the deviation and the tenacity dalguma durable perception: Artist is charming evanescências: a rose is not a rose ever since Gertrude Stein said Paul Von Poser or magically mimicked. Pink and urban chaos still retain cosmogonies and the genesis of the subject as a witness to the absolute divine absurdly available:unaware of something more fragile than monumentality of Sampa: immensity that engalfinha by gray bins dalgum everyday purpose and your descomeço.

Sampa ends in nothing done thought the restart. City made it descabaçando petals.

Grande Paulo Von Poser!

MULBERRY FLÁVIO

A ROSE AND FANTASY VON POSER

Ignatius BRANDÃO

2003

The ROSA Shakespeare is to DANTE

Ignatius BRANDÃO

2003

Here and there, seems to me that Von Poser put sharp bottles. Ou sombras. Or thorns out of place, because the stem should be. Or causes the play of illusions, one of the functions of the artist. I see and if you want you can also see an eye in the center of the rose, semioculto. La Vie em Rose cantaram Charles Trenet and Edith Piaf. Life as we would like. Rosettes lit cathedrals and told stories. Compass, directions. Pink: o frescor. What we know of roses? Symbols of regeneration, it has been, over millennia, considered the cup of life. For Christians it is the cup which collected the blood of Christ, therefore, evokes the Grail. In the litany, Our Lady is remembered as Mystic Rose. The rose is the soul and the rose gold fourth Sunday of Lent means resurrection and immortality. Ah, and roses Santa Therese of Jesus that bring thanks to the receive? It is not known to flower age, but there is evidence that found in the United States that would 35 millions of years. Yup, clear, found the fossil of a rose, but scientists, with all his coolness and equipment, can see things in poetry. Roses are cited of Solomon, one of the most beautiful texts of love of humanity. Roses in ancient Greece were white, but turned red, when stained by the blood of Aphrodite bail was mortally wounded Adonis. The white and red mixed formed Pink, flower color. Homer refers to it to describe sunrise. Achilles was embalmed in rose water. No Eastern, where it says that the rose came, Garden of Roses created by Josefina, wife of Napoleon; he made war, ela plantava flores. The spectrum of the Rose, danced by Nijinsky, marks the beginning of modern dance. Put Dante in the Divine Comedy, the last circle of Paradise, when the faithful lover Beatrice arrives there. No Paradise, Dante acquires new visual capacity, immaterial to the proper means, made of pure light. And the Mystical Rose. Tom Jobim placed it in the MPB: “Look, it's raining in rosebush, that only gives pink but does not smell”. And Shakespeare opens one of his sonnets:”Of all the creatures we adore / a rose is one whose beauty should never die”.

Ignatius BRANDÃO

THE HORIZONS OF PAUL VON poser

António Gonçalves SON

2001

To ascertain the race of Morandi have disallowed perspective, Argan concluded that the artist has the clearest reality with the aim of representing it. Argan discovered that the Italian artist defined the bounding line of things. Also the Brazilian Paulo von Poser accepted these criteria morandianos. Hence the title of his exhibition, “Horizons”, is more than adequate. All in von Poser is given by relation. The landscape is mediated by a look of architect, undeniably constructive vocation, which mas ele search, paradoxically, it is the deconstruction. The design suggests, but do not want the landscape randomly. After all, what is this horizon and what those landscapes that deny naturalism?

How Morandi, von Poser refuses to resort to “known” on his experience of seeing the world. In other words, he has the look of naive painters rating. Searching for something in the landscape that is not there. è able to deliberately change the landscape of Arpoador to build a new Nature, regenerate what you see.
For no other reason, von Poser became known for paintings and gigantic cut roses, as is known, are signs of environmental regeneration. In this exhibition, Over the degraded landscape across its petals. Von Poser is an optimist: is true that the alchemical rose is symbolically present in urban centers. São Paulo will rise from its ground zero, ensures.

Professor of architecture since 1985, the artist gives classes on street. observation drawings. As the vertical Sao Paulo have no horizon, was the most affected in this exhibition, which meets drawings from various periods, being the oldest a landscape of Brasilia, made in 1985. Von Poser took their materials to the Rio Botanical Garden, for Arpoador, Add to Ilha Bela Bahia. In all these places had the company of popular, commenting and criticizing his drawings. The color was shocking? “The color is not in landscape, but the beholder”, observed. Neither Goethe dared to go so far in his theory of colors.

Von Poser tried monochrome experiences with nature, which shocked other observers. This lack of color in the drawings in charcoal and graphite seems outrageous for a tropical country. But his is a landscape “cultural”, captured by a trained eye, able to artificially join with the Redeemer of the Hill Brothers, Chinese landscape as a circular or an assembly Polaroid taken by David Hockney English (a presumed influence of von Poser). The key to this horizontality is phenomenological. He assumes the “anachronism” landscape as an attempt to understand the world differently, comparing photographs and drawings, natural observation and intellectual understanding of the ways of nature.

“It is necessary to recover the drawing, because it has an effect on the brain have not fully considered”, Diz von poser, justifying the figurative representation of the landscape as an attempt to seek “civility” in public places through which it passes with his art. It is comparing what is seen and what is playing the role that other citizens add something to the artist's vision. And reflect on being in muno and its relationship with the environment. This is the big question of this show.
António Gonçalves SON

THE THORN OF THE ROSE

Radha ABBRAMO

1999

Pink, roseiral, rosettes plastic forming the current vocabulary von Poser, young artist a few years ago, love-is by elas, a very special way, elevating them to the inspirational power of his work station.

Headdress, deeply the image of Rio de Janeiro, the artist gets to draw roses, the huge stones that spring from this “Garden City”, as he says, ending by capitulating to the Botanical Garden, a public rose garden.

He pursues the path of nature, descortinando works: “Pink Eye” large canvas painting, “The Redeemer of the Rose Garden”, watercolor, “Cheia mention of Lagoa”, drawing / ink, “The Sugarloaf”, pen and ink drawing, transmuting all these views in color, traits, decorative objects, (dishes) and further, Any roses, sculptures.

Its fashionable von Poser becomes a traveling artist, Different Rugendas, Florensa and Taunay and many others, interested in the scientific expeditions. Von poser, unlike their predecessors, is in full poetic expedition pink. Puts it, unique and lofty landscape “Pink Eye” or, molds them into ceramic vessels and modulates cut, dismembered, rearticuláveis, Colorful, transformed into mobile sculptures, donuts from multiple performances.

So here we treat the pink, beautiful flower that brings together seven petals imbedded in each other creating a sweet body, velvety and mysterious. She has a common history, born in any land and springs thorns to hurt distracted, mainly, those who do little of their harmful and treacherous role.

Traveling on the rose that has very strong presence, although delicate appearance, von Poser takes over ownership of the forms of their spines that run down the stem, amplia-os, giving them volume and diverse colorful, resembling them to Unicorns, pointless, Deaf, many of them having the drawing of a rose, painted inside.

The thorn gets exorcised a new way to funnel your tips in different directions and different. Willing, jointly, on the same surface, unicorns riding a big building panel chromatic vibration acquiring smooth drive goes through when looking at moderate speed.

Poetic about the expedition resulted pink, in short, that von Poser, to exorcise the thorns, turning them into unicorns, about-is, Now he himself, new aspect to his artistic creation, opening up a whole field of research formal, and organic forms part of the development of nature.

The new phase of artistic production von Poser, so you might think -“if the rose dies, vivam unicorns”- fruits of poetic expedition photographer, if assenhorando-constructive ways and under visual performance of Optical-Art.

After all, the thorns of roses are part of them.

Radha ABBRAMO
Sao Paulo, 6 October 1999

VON POSER PLACE ROSES ON THE WAY

CELSO FIORAVANTE

1996

PRESENTATION OF THE MUSEUM OF CONTEMPORARY ART CALENDAR

RENINA KATZ

1989

Paulo von poser

CARLOS OF SCHMIDT

1986

Cityscapes, impressions of the city with the recipe, girlfriends figures (Pictures?) Paulo von Poser, They deserve Flavio Empire poem:

"Paulo, when walked on foot, for the first time, living outside the dam…/found,/ that the world of city-giant / has a thousand faces / almost no face / that was his surprise expressa./ Without calm,/ How to pressas./ passersby and leaves a deep impression. / The rest or forget or not see. / The people are lost in the crowds / But,/ alguns to ax people,/ and loses in seguida./ The pitch is not the compass / heart. / Step / is / compass / from the crowd. / The bustling heart,/ Hot mind / have no stomach and without hunger / swallows,/ not come./ Immerse yourself in solitude. / In this climate emerges the dash. / strong permanent trace or quase./ All ready to be feito./ little refeito./ ".

The "strong and definitive dash or almost" Paul von Poser, slightly approached, once, Toulouse-Lautrec, It took on the influence of David Hockney, but, these few years of the artist's activity, acquired personal brand and flowed, between acrylic, nankin, collages.

It is a full of discoveries search. The shape and increasingly autonomous color, the service of artistic expression. And the trace, the spelling, always determine spaces, composing universes.

In his first participation in collective (Expo FAU 1979) and the first individual (Drawings - Pinacoteca do Estado, in 1982) the "Model and its Thought", opened in late September in Sadala Gallery, Paulo von Poser walked ascensionalmente. His keen observation leads to emotion or criticism. For example, from the UPA-821 discipline - Design / Color / Image, course Graduate FAU USP, passed the "visual reading of color in the landscape of the inland cities by drawing". And Piracicaba, on the weekends, in 83, and finally showed in the hall of the Municipal Theater of that city "Some Color Piracicaba". The text he wrote for the show reveals the quality of your observation: “… when reviewing the city, beyond amazing brick color wit, and wonder evenings, other colours, new colors were part of the landscape Piracicaba. About Blue, several white and tall buildings, emerged from the sea of red roofs, the old hotel remained only a small wall pink (today green), an old tree, and the massive gray wall of the building next door ". But the colors that piracicabanos "failed to see", Paul revealed in his drawings.

Moravia, before, next to the Guarapiranga, corner of St. Paul away from the fierce city. After, She moved to an agitated point, between the Itaim and Gardens. The interaction with the crowds became daily. Critical reflections accentuated. In its figures, even at the close of a face, the firm strokes seem segments of crystallized crowd in the individual. In the city-giant with a thousand faces, as said Flavio Empire, Paul seeks to reveal a face. And it, sarcasm, or loneliness, or expectation.

The design began to subdue him when he was studying architecture at FAU-USP.

At one point, He decided to draw with model, the pen and ink. Rigorous work, with which sought to achieve an almost academic record figure seen. From May of 85 to May 86, He worked one model, synthesis of all other. The calculation of this work resulted in the huge cuts seen in the show Sadala.

The key to his work is the relationship between art / life - and this, he says, discovered David Hockney. A relationship that is not in the contemplative level. In addition to artist, is professor of drawing at the School of Fine Arts, at FAAP and the School of Architecture of Santos. This contact with the learning and making art, extends in works like what you've done with other artists, for two years, at the Centro Cultural São Paulo - an experimental workshop where people converged from different social and intellectual layers. extended up, also, the project implemented in the 18th Bienal, working with about five thousand children and adolescents. All of this makes up the relationship between art / life.

Asking about the situation of the young artist, Paul says that more problematic is the situation of the young art teacher. The school has no, usually, meaning or to the student or to the teacher. It is necessary to create new methods and new stimuli. On the other hand, the advantage of teaching is to achieve a certain independence from the market - despite the inadequate remuneration of the teacher. This chapter, However, It is not decided for him. Because, despite the difficult access, It does not have much to complain about the market: His work is well accepted by the public, sells well, although in the opinion of many dealers this kind of work is unsaleable.

Carlos von Schmidt
Art magazine – 1986

The PAUL

FLÁVIO EMPIRE

1985