Installation View

Installation View

Installation View

Installation View

Installation View

Thomaz Rosa
Percorso cucito 2021
oil and paper on canvas
40 × 50 cm

Thomaz Rosa
Arkeologia 2021
ping pong ball, oil and resin on canvas
180 × 150 cm

Thomaz Rosa
Arkeologia (Detail)

Thomaz Rosa
Timelaps 2021
Tape and oil on canvas
30 × 20 cm

Thomaz Rosa
Timelaps (Detail)

Thomaz Rosa
Gurufin 2021
oil and earring on canvas
120 × 150 cm

 

Thomaz Rosa
Gurufin (
Detail)

Thomaz Rosa
Leito do rio 2021
oil and tape on canvas
30 × 24 cm

Thomaz Rosa
Pope 2020
Oil on canvas
50 × 7 cm

Thomaz Rosa
Sweet 2020
oil on canvas
50 × 50 cm

Thomaz Rosa
Fine 2021
oil and paper on canvas
150 × 120 cm

Thomaz Rosa
Fine (Detail)

Thomaz rosa 
Fine  (Detail)

Thomaz Rosa
Porsi 2021
oil on canvas
25 × 20 cm

Thomaz Rosa
Tessitura 2021
oil on canvas
30 × 24 cm

Thomaz Rosa
Dedo de Moça 2020
Oil on canvas
50 × 40 cm

Thomaz Rosa
Kiss 2021
oil and tape on canvas
20 × 20 cm

Thomaz Rosa
Guarda corpo 2021
resin, ping pong balls and oil on canvas
30 × 30 cm

Thomaz Rosa
Guarda corpo (Detail)

Thomaz Rosa
Forky 2021
oil and collage on canvas
80 × 64 cm

Thomaz Rosa
Esconde esconde 2020
Oil on canvas
48 × 40 cm

Thomaz Rosa
Esconde esconde (Detail)

Rifacciamoci la bocca con i cibi buoni di GUSTO
Thomaz Rosa

24/06/2021 – 25/09/2021

A few weeks before his death, Eugéne Delacroix wrote in his diary that “the first quality of a painting is to be a joy to the eye”. And he added: “not that it doesn’t also require intelligence, but it’s exactly the same with beautiful verse… all the intelligence in the world does not prevent them from being ugly, if they offend the ear”. In the one hundred and sixty years since these words were spoken, the concept of what does or does not offend eyes and ears has undergone a series of twists and turns that made it broader, more malleable, and elusive than ever before.

It’s not surprising, then, that Thomaz Rosa’s paintings, so different from those by Delacroix, are actually moved by the same principle, and that in our eyes they are a true joy. But if the great French master concluded his thought by writing that one must have an eye, because “not all eyes are capable of savouring the finesse of painting”, Rosa seems to intend to make a generous kind of painting, capable of enticing even less willing and predisposed eyes. His work is the result of a competent but spontaneous research, lead by an inexhaustible curiosity for everything that could be concerning painting and the paintable: a passion that survives in the finished canvases and gives them a contagious energy to which it’s diffucult to remain indifferent.

The tradition they are a part of, however, is that of a modest and anti-heroic art, which prefers to propose itself rather than imposing itself on those in front of it. And what Thomaz proposes, besides being a way of painting, is a way of looking at painting: abandoning ourselves without fear and yield to its charm, letting be “taken by the eye” and getting lost in the infinite formal solutions inherited from a century and a half of constant exploration of the potentialities (and limits) of pictorial language. Stolen from a song of Iosonouncane’s debut album, the title that Thomaz has chosen for the exhibition wants to emphasize this invitation, already implicit in the paintings, to enjoy all that painting has to offer, following the example of an omnivorous and enthusiastic taster like him.

Rifacciamoci la bocca coi cibi buoni di Gusto (Let’s refresh our mouths with Tasteful foods)… getting involved with the playful spirit of the of the exhibition, it’s tempting to change it into Rifacciamoci la bocca coi cibi buoni di Gusto (n) .
Philip Guston is a fundamental reference point for any contemporary artist who consciously sets himself the rectangular limit of the framed canvas. An author who like few has managed to give meaning to painting in the contemporary world, paradoxically discovering in it an ideal place to search freely for his own language. The renunciation of his established position in the elite of abstract expressionism and the indifference for the potentialities of the “contemporary” modes of expression, demonstrate his intuition of a new role for the ancient language of painting. Suddenly freed from the weight of avant-garde research, the painter has the right to return to paint what he wants and how he wants to, and to enjoy with self-irony and without guilt his own “stupidity”. So, as Luca Bertolo writes, Guston’s tasteful foods are intended for “all those who are ready to set aside, at least once in a while, their damned intelligence” and who “have the courage and luck, at least once in a while, to open their eyes and see”. There is no doubt that among these sighted ones, brave and fortunate, there is also Thomaz Rosa, and with the help of his paintings, perhaps,we too could open our eyes.

Giulio Bonfante

CASTIGLIONI
MILANO

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Saturday /11.30 am – 6 pm

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Milan MI, Italy

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