Failed and fragile loves, veiled desires, memories of bodies, moments and travels, of life in Brazil's interior, its religious adornments, and processions coexist with references from literature, art history, and contemporary art and merge into Matheus Chiaratti's pictorial field. The articulation of elements as a rebus evokes a technical construction, almost cinematographic of the image.
The proposition allows the capture and revelation of an essence that goes beyond what the eye can capture. It refers to the concepts developed by Walter Benjamin regarding photography and cinema, which, not inadvertently were the background and focus of Chiaratti before starting painting.
In parallel, words permeate the body of work: letters appear or vanish while the artwork titles suggest and combine personal and artistic references, elaborating themes as affection, sexuality, tradition, and nature.
The importance of words is yet emphasized by an acrylic box containing the almost pages of a WhatsApp conversation between two lovers, establishing a formal link between the art object and the storytelling that remains otherwise hidden.
The pages of the artwork, simple impressions, can be manipulated by the public, revealing a moment of extreme intimacy. The mere object refers de facto to the Catholic paraphernalia while embodying allusions to artworks from artists like Rivane Neuenschwander and Leonilson, to chaos and desire and their opposites.
