O Sedutor, 2004
Oil on Canvas 230 x 530 cm
Victoria Miro Gallery, London
10 October 2004
The show contained four of these immense, almost life size, paintings of tiled saunas and a number of smaller studies on paper that were framed behind glass. Each had a different monochrome theme and I have chosen the one painted in a variety of blues from tinged white to almost black. The blues themselves range from aqua with a lot of green, right through to almost lavender.
Although she has used a fairly heavy canvas, the weave on the surface isn’t prominent indicating that the surface must be heavily primed to get it flat. The process of painting is fundamental to the reading of meaning behind the work and I would say she has started with a dark red ground, perhaps burnt umber and then painted each tile individually. In light areas colours are not just tonally lighter, but slightly warmer. The paint is uniformly applied, but you can see brush marks when looking closely. There is definitely a glaze with the paint and some of the tiles look like two coats with the paler one underneath. This is left to show at the “tile” edges and helps the 3d illusion as do the edges of shadows’ which are subtlety blended over a small area. The other curious point is that all four of the large canvases had rounded corners; this isn’t easy to do and contradicts the rectangular tiles but I cannot guess the significance.
Whilst the use of the grids that constitute these works could hint at modernist aesthetics, her earlier work depicted fragments of tiled wall with rubble made of flesh bulging and bursting through the painted surface. This use of the tile as a recurrent motif refers to the azulejo, a square terracotta tile used continuously throughout Portugal’s history since the middle ages. Influenced over the years by Moors, Spanish, Oriental and Dutch artisans it was used for decoration in such far distant corners of Portugal’s empire as Brazil. So Varejão is invoking the colonial history of Brazil though the use of tiles albeit in a more subtle way in these Sauna paintings.
In these large scale trompe l’oeil paintings, the tiles have become simple, unadorned, abstract and minimalist, but the space the paintings describe is one of empty luxury, hard and cold. Whilst I find this non-space deeply melancholic on account of the implied solitude, that reading may be at variance with her conceptual impulse. In other words what I am reading as an impersonal modern skin of a contemporary “temple” for the body, she may be referencing the opulence of Portugal’s past fuelled by resources flowing from Brazil. Who is “The Seducer” of the title?
©blackdog 2021