SANDRA CINTO . DOIS INFINITOS: CRITICAL TEXT BY JOSUÉ MATTOS AND PRISCYLA GOMES
Forthcoming exhibition
Overview
Casa Triângulo is pleased to present Dois Infinitos, Sandra Cinto’s eleventh solo exhibition at the gallery, bringing together a new body of work that deepens central concerns in her practice: displacement, horizon, crossing, and the poetic construction of space. The exhibition will be accompanied by critical texts by Josué Mattos and Priscyla Gomes.
"Over more than thirty years, Sandra Cinto has chosen the inner space of every living being as the residence of what she defines as the Great Sun and Nights of Hope, two forces that run through her poetic construction. In the context of the exhibition Dois Infinitos, the artist deals with these paradoxes of the sensitive experience in the passage from obscurity to the golden warmth that embraces her constellations, rock formations, and oceanic landscapes. Tributaries and currents meet in this territory of transition, as if each image inhabited the threshold between one field and another. The inner and sacred landscape, organized in eight continuous acts, transports the public to a sensitive territory in which light allows chromatic diversity, depth, and the layering of mountains and waterfalls. It is in this field that the line emerges as an emancipatory gesture: the same stroke that traverses surfaces and horizons establishes spaces of passage between the visible and the imagined. The exhibition welcomes each subject into an intimate space, making the artist´s long trajectory at Casa Triângulo a singular moment, when the infinitesimal meets the infinite that haunts by its immeasurable force and enchants by its beauty that calls for devotion."
Josué Mattos
“The exhibition emerges as a suspended space between two infinities. On one side, a deep, nocturnal, and introspective blue, where the landscape thickens and turns inward, as if touching a zone of silence and interiority. On the other, a luminous, open, and expansive gold, where the image projects itself, radiates, and dissolves into the horizon. Between these two poles, the painting does not fix a place; it vibrates, alternates, and shifts. There is within it a respiratory rhythm, a movement of contraction and expansion that sustains its very existence.
In this sense, these landscapes also configure an image of time—not a linear and progressive time, but a circular one that returns and folds in on itself. Dawn and dusk cease to be extremes and instead become passages within the same continuous duration. The light that emerges already carries the memory of shadow, just as the night harbors, in latency, the imminence of day. The series is thus constructed as a cycle, an incessant movement between two states of the world, between two intensities of the visible, where each image seems to contain, within itself, both beginning and end.”
Priscyla Gomes
