"Espereitando pelo seu telscopia o nascimento do cosmos..."
The paintings of Eduardo Santos take a telescopic view of the Cosmos. Terrestrial and Aerial, Oceanic and Volcanic, his works make use of elements which interlock and mutate. These compositions fuse harmony with upheaval. His mastery of organic form and signature use of an icy mineral palette scrub away the established and literal interpretations of the landscape and create instead a terrain that is hybrid.
The paintings of Nascimento evoke diverse zones: ice cap / crater / earth / Saturn / river /cloud. In these works, the aqueous becomes solid, and the monumental distintegrate into veils of cloud and pigment. Inspired always by the primal relationship with nature forged by his childhood in Brazil, Eduardo Santo threads the seeds of autobiography into profoundly abstract work. For this series he looks to submerged memory. As a child he recalled the intense experience of drowning and then being 'reborn' on land:
"Perhaps painting serves as a meditative consolation for the experience of crisis."
As a body of work Nascimento does, on the surface appear aquatic. Yet the influence of cartography, aerial views and geology on these paintings create a textural depth not encompassed by the traditional seascape. Concentric diagonals and rippling furls of pouring paint echo the coiled energy of the spiral. The surface is agile. Here are works that talk about the firmament: The enigma of conception, the constant movement of tides, the glassy void of a sky after a storm. Rivulets and pools of pale colour expand and diffuse the literal dimensions of the natural world. Instead, within a deliberate inversion, he collapses the horizon, pivots the sky, makes the convex concave and literalliy sucks the eye into a centrifugal force field within the paintings' core.
Anna Johnson, 2020