1- Where did you born? And what is your academic training?
I was born in Salvador - BA and I have a degree in Informatics, with postgraduate degrees and MBAs in the areas of Technology, Finance and Management.
2- How and when you give your first contact with the Arts?
I grew up watching my mom, an artist who didn't want to professionalize, paint using various materials and supports. In addition, I had an excellent teacher of Arts at school, the artist Viga Gordilho, that sparked my interest in studying artistic movements.
3- How did you find this gift?
I've been enjoying painting multicolored abstracts since I was a teenager, but I believed that I would not be able to make figurative paintings. Only to 30 years, when I saw a family member start from scratch and, in a short time, create beautiful works, I broke the limiting belief that I couldn't do it and decided to study drawing and painting at Atelier Canella’s, in Niterói. Since then, I realized that I had a special interest in realistic portraits and abstract expressionism.
4- What are your main influences?
My mother had a strong influence on my taste for materials and portrait painting. beyond, all my teachers and mentors in different areas, in addition to the great masters of art history, exercised some kind of influence on me and on the work I do. I will talk about some of these masters later.
5- What materials do you use in your works?
I consider myself a collector of artistic materials and I love to use several of them in my works, so that, and often, I find it difficult to list everything I used in a single job. I like to vary, also, the supports. In addition to materials purchased from specialized stores, I use, with some frequency, recycled materials.
6- What is your creative process itself? What inspires you?
I really enjoy studying the workings of the human mind, of the unconscious, of the connection with the Higher Self, of the power of imagination, of faith and vibrational frequencies for the co-creation of reality, which ends up being reflected in the theme of my abstract works and in the people I choose to portray.
I try to portray people who inspire me by their history or who capture my attention through a specific characteristic, how to look, the smile or the feeling they convey.
My abstracts are created intuitively; I usually add layers of different materials until, at any given time, I listen to the message that the work wants to transmit, either through a sentence, a word or a song. At this time, I know that the work is about to be finished and I act in a more logical way, interfering in details and elements to make it more harmonious and befitting the message to be conveyed.
7- When you started effectively to produce or create your works?
Despite having older copyrighted works, was from 2016, when I decided to dedicate myself entirely to art, that I started to produce them in greater quantity and, slowly, I was realizing and refining my identity.
8- Art is an intellectual production exquisite, where emotions are embedded in the context of creation, but in art history, we see that many artists are derived from other, following technical and artistic movements through time, you own any model or influence of any artist? Who would be?
My abstract work derives, largely, of fovism and expressionism, influenced by various artists from these movements. Beyond Kandinsky and Miró, which are my biggest references, the colors of Matisse and the creatures that appear in the works of Paul Klee they are also very present in my work. My portraits are more influenced by realism and post-impressionism. My biggest references in the portrait are Paul Cézanne e Van Gogh.
9- What does art mean to you? If you were to summarize in a few words the meaning of Arts in your life…
Art for me is a rescue of affective memories, besides being an important means of individual expression and communication between souls.
10- What techniques do you use to express their ideas, feelings and perception about the world? (Whether it is through painting, sculpture, drawing, collage, photography… or uses several techniques in order to make a mix of different art forms).
Use, preferably, painting in mixed media, where I usually include collages.
11- Every artist has his mentor, that person whom you mirrored that encouraged and inspired you to follow this career you, going ahead and taking your dreams the other expression levels, who this person is and how it introduced you in the art world?
My decision to pursue an artistic career was individual and did not have the influence of mentors. However, along the way, I found mentors in several areas, so that, if I were to quote them, would probably do the injustice of forgetting someone.
12- You have another activity beyond art? You teaches classes, lectures etc.?
I started to give individual lessons in Painting in Mixed Technique and Artistic Materials for Painting in Mixed Technique that, coming soon, I intend to expand to small groups.
13- Its major national and international exhibitions and their awards?
- I have participated in group exhibitions promoted by Raphael Art Gallery.
- I am currently participating in the collective “Art - My Essence” -Raphael Art Gallery, in addition to the ICASAA Art Gallery and EueArte Gallery;
- I participated, for the first time, of an official auction, o 3º. Auction Artrilha;
- Fiz minha primeira exposição individual virtual pela galeria que me representa em Nova Iorque, to Artios Gallery;
- I won the popular vote in January 2020 of the international painting competition of BoldBrush, besides being a finalist in three different months of the international competition of PaintingContest.org
- I exposed my work in Chaves, Madrid and Lisbon and one of my works became part of the collection of Fort of San Francisco, in Chaves.
14- Your plans for the future?
I intend to continue developing my identity and exploring new materials, supports and techniques, in addition to participating in national and international art salons.
I want, yet, increasingly share what I have learned so far through courses and lectures, besides taking my art to licensable products, so that it is within reach of a greater number of people.
15- In your opinion what is the future of Brazilian art and its artists? (in the general context) and why so many artists are giving preference to show their work in international exhibitions despite high costs?
I believe that the movement to show the works in exhibitions International, despite the high costs involved, is due to the belief that, and often, people need to be recognized outside of Brazil to obtain recognition within their city or region.
I believe, however, that the current period has shown the world and, particularly, to Brazilians, the value of art. Several new artists have emerged from other professions and a new generation of collectors has started to emerge; to digital art, including, gained greater recognition with NFTs. In addition, online exhibitions have broken the physical barrier, in addition to significantly reducing exposure costs.
With this, more artists are having the opportunity to show their art to the world without having to travel and the long-awaited recognition can come from anywhere.
ON THE TUNING IN THE PAINTINGS OF GÊIZA BARRETO
Even in the midst of a mixture of techniques, the abstract paintings of the artist Gêiza Barreto are presented in interesting uniformity.
Harmonized for the same purpose, namely, the final composition of the image, the collages, the brush strokes, etc. are reconciled in such a way that the seam between each of these effects no longer appears.
The lack of a vanishing point leads our eyes to a tour of the plane, with small pauses in each of the inserted forms, generating an internal movement in the viewer.
The portraits of Gêiza Barreto, on the other hand, define the realistic side of the human face, through stains and expression lines “unfiltered”, more precisely, without camouflages, that further mark the firmness of the eyes of impacting personalities.
On the one hand, the artist's repertoire offers musical movements, caused by the balance of forms, now organic, now geometric, toned by a joy similar to that of Bossa Nova. And, from the perspective of the portrait, presents the dense and, paradoxically, serene expression of the individual arising from the strength of experience.
Anyway, without worrying about finding a common point between the different treatments carried out by the artist, it’s interesting to note that while the strong point of abstraction exists for something that doesn’t reveal itself right away, he resurfaces in the portraits just the opposite.
Text: Ana Mondini