…and still counting…
50 paintings, mud on canvas, 90 x 19 cm.
Installation at Bermondsey studio. 2005
I
Parece sempre difícil saber onde uma pintura começa e quando ela está realmente concluída. Alguns artistas falam que quando se ouve um “clic” é hora de parar. Para Nick Rands a lógica é outra, justamente talvez por duvidar desse “clic” por tudo o que ele tem de subjetivo e indizível. Uma pintura é um trabalho como qualquer outro e esta se concluirá quando um objetivo claro chegar ao fim. Todo o trabalho é belo quando é apenas uma tarefa executada sem uma outra ambição a não ser cumpri-la com dedicação e persistência. O trabalho artístico é algo para ser compartilhado, sem mistificações, colocando-se em igualdade com qualquer outra atividade humana. É quando ele se despe de toda a arrogância e se iguala a qualquer outra atividade que ele adquire a sua dignidade – uma estética extraída de uma ética. É belo porque é trabalho.
II
A pintura é um território que deve ser ocupado, percorrido e vivido. Para tanto é necessário traçar uma estratégia e executá-la a risca. Nick fala que não pode ser interrompido durante o processo. São percursos mentais que necessitam de um certo grau de concentração para se efetivarem no plano da pintura. Isto faz com que cada trabalho seja uma fatia de espaço e tempo. É um jogo particular do artista, mas que se oferece ao observador exigindo apenas como regra para participar que este possua um olhar desacelerado, uma contemplação ativa. Precisa que este ultrapasse as seduções decorativas da imagem para que chegue na imaginação e reconstrua mentalmente as coreografias executadas.
Os pigmentos que o artista utiliza são terras extraídas de diversos lugares de diferentes viagens. Ao colocá-los na pintura, dedo a dedo – passo a passo, faz desta uma reterritorialização. O caminho dos seus gestos reconstitui uma paisagem que não é imagem, mas matéria. É a compreensão de que um lugar, com sua complexidade perceptiva, só pode ser evocado e nunca representado.
III
Os dedos sujos de barro de Nick Rands apontam com persistência para a pintura como se dissessem - olhem aqui, eu estive aqui, eu passo por aqui, eu sou só isso. Afirma a materialidade do mundo, sua inserção dentro dele e seus limites. Ao mesmo tempo, os pontos sobre o plano bidimensional da pintura assumem uma dimensão estrelar como se a cada trabalho ele fundasse uma galáxia. Cada obra (cada galáxia) soma-se a outra, emenda-se na outra - um universo em expansão. Todas as obras parecem fazer parte de um único projeto, uma única pintura infinita onde o de novo acumula-se constantemente criando o novo. Onde cada quadro é um recorte autônomo, com leis próprias, mas também um corpo conectado a uma rede muito maior de contornos imprecisos.
Jailton Moreira / julho de 2005.
It always seems difficult to know where a painting begins and when it is really finished. Some artists say that when they hear a “click” it is time to stop. For Nick Rands the logic is different, perhaps because of doubting that “click” for all its subjectivity and inexplicability. A painting is work like any other, and will be completed when a clear objective reaches its end. All work is beautiful when it is simply a task performed with no other aim than to be completed with dedication and persistence. Artistic work is something to be shared, without mystification, being placed alongside any other human activity. It is when it turns away from all self-importance and becomes equal to any other activity that it acquires its dignity – an aesthetic extracted from an ethical position. It is beautiful because it is work.
II
Painting is a territory that has to be occupied, travelled through and lived. It is therefore necessary to outline a strategy and carry it out precisely. Nick says that he cannot be interrupted during the process. They are mental voyages that require a certain degree of concentration to be effected on the plane of the painting. This makes each work into a slice of space and time. It is the artist’s private game, but it is offered to the spectator requiring only a slower gaze and active contemplation as rule for participation. This needs to overcome the decorative seductions of the image in order to reach the imagination and mentally reconstruct the choreography performed.
The artist uses pigments extracted from various places on different travels. When putting them into painting, finger by finger – step by step, he makes it into a re-territorialisation. The path of his gestures reconstitutes landscape that is not an image, but material. This is an understanding that a place, with its perceptible complexity, can only be evoked and never represented.
III
Nick Rands’s muddy fingers persistently point at the painting as if to say, “Look, I was here, I came through here, that’s all I am”. He confirms the materiality of the world, his place within it and the limits of both. At the same time the spots on the flat plane of the painting take on a starry dimension, as if in each work he is creating a galaxy. Each work (each galaxy) is added to another, joins another – an expanding universe. All the works seem to be part of a single project, a single infinite painting where the again is constantly accumulated, creating the new. Where each work is an autonomous section, a world with its own laws, but also a body connected to a much larger network with unclear outlines.
Jailton Moreira / July 2005.
…and still counting…
50 paintings, mud on canvas, 90 x 19 cm.
Installation at Bermondsey studio. 2005
Yellow horizontal constellation
mud on canvas
100 x 200 cm
2005
Lilac horizontal constellation
mud on canvas
100 x 200 cm
2005
Up down red
mud on canvas
200 x 200 cm
2005
Blue spots
mud on canvas
200 x 200 cm
2005
Diagonal cross
mud on canvas
200 x 200 cm
2005
Garibaldi constellation 2
mud on canvas
60 x 60 cm
2005
Garibaldi constellation 3
mud on canvas
60 x 60 cm
2005
Up down white
mud on canvas
200 x 200 cm
2005
Yellow constellation
mud on canvas
100 x 100 cm
2004
80 x 80 constellation #1
mud on canvas
80 x 80 cm
2004
coffee and chocolate
coffee and chocolate on paper
40 x 40 cm
2004
60 x 60 spiral constellation 1
mud on canvas
60 x 60 cm
2004
80 x 80 constellation #2
mud on canvas
80 x 80 cm
2004
Midnight in the garden
mud on canvas
80 x 80 cm
2004
Red constellation
mud on canvas
100 x 100 cm
2004
up down constellation#2
mud on canvas
60 x 60 cm
2004
up down constellation
mud on canvas
60 x 60 cm
2004
Yellow white constellation
mud on canvas
150 x 150 cm
2004
Western landscapes #1
mud on paper on canvas
15 x 10 x 15 cm
2004
Western landscapes #2
mud on paper on canvas
15 x 10 x 15 cm
2004
Western landscapes #3
mud on paper on canvas
15 x 10 x 15 cm
2004
Bryce canyon
mud on paper on canvas
36 x 15 x 10 cm
2004
War painting
mud on canvas
120 x 120 cm
2003
Shallow entrance
mud on paper
140 x 140 cm
2002
Tacking
mud on paper
140 x 140 cm
2002
Coming alongside
mud on paper
140 x 140 cm
2002
10x10x10
mud on paper
10 x 28 x 28 cm
2001
Smudged orange frottage
mud on paper
120 x 120 cm
2001
Orange frottage
mud on paper
120 x 120 cm
2001
10x10x10#2
mud on paper
10 x 28 x 28 cm
2001
Japanese portraits
mud on paper on canvas
10 x 21 x 15 cm
2001
Japanese temples
mud on paper on canvas
14 x14 x 12 cm
2001
Red white spot painting
mud on paper
140 x 140 cm
2001
clocwise spiral 3
mud on canvas
200 x 200 cm
2000
Inward outward painting
mud on canvas
200 x 200 cm
2000
Yellow cross
mud on paper
140 x 140 cm
1999
Spot print
mud and waste oil on paper
140 x 140 cm
1999
Touching wall painting
mud on wall
200 x 200 cm
1999
Grey frottage]
mud on paper
140 x 140 cm
1999
Chocolate and gold painting
mud on paper
140 x 140 cm
1999
Travel Diary
mud and inkjet on paper
19 x 16x14 cm
1999
4ways around the square 2
mud on canvas
200 x 200 cm
1997
Clockwise spiral square
mud on wall
140 x 140 cm
1997
Grizedale rock painting
mud on rock
300 x 300 cm
1996
Grizedale Mud Circle study
mud on paper
140 x 100 cm
1996
Grizedale Mud Circle study
mud paper
100 x 70 cm
1996
Nick Rands, b. 1955 Chester, UK.
Studied Fine Art at Reading University and Art Education at Bristol University/Bristol Polytechnic.
Taught art in UK and Botswana before working as art-gallery education officer. In 1992 he was Southern Arts-Brazil Exchange artist to Porto Alegre, Brazil. Moved to Brazil in 1998, and in 2016 moved to Caunes-Minervois, France.
SOLO EXHIBITIONS
2022
3000 e outras terras
Galeria Gestual, Porto Alegre RS Brazil
Line by Line Peintures / Dessins 1992 - 2022
La Table des Vignerons, Trausse, France
Rue Joseph Sicard, Caunes Minervois, France
Ausência
L’anciennne boulangerie, Caunes Minervois, France
Hillfield/Arborizada
Rue Joseph Sicard, Caunes Minervois, France
2021
Dix terres a la recheche d’un système perdu
Rue Joseph Sicard, Caunes Minervois, France
Greencat gallery, Caunes Minervois, France
2018
Lost Rivers Mosaic Paintings
8 Melior Street, London, UK
Horizontes Terrestres revisited
Galeria Gestual, Porto Alegre RS, Brazil
2017
Horizontes Terrestres
ESPM, Porto Alegre, Brazil
2016
Ausência
Galeria Gestual, Porto Alegre RS, Brazil
2015
Neckinger River Levels
Bermondsey Yard, London
2012
Um Quadrado no Rio Grande do Sul
Museu Júlio de Castilhos, Porto Alegre, Brazil
2011
Um Quadrado no Rio Grande do Sul
Museu de Arte de Santa Maria, Santa Maria, Brazil
A Gente
Museu do Trabalho, Porto Alegre RS, Brazil
2009
ChromaLife
Galeria Gestual, Porto Alegre RS, Brazil
2008
ChromaLife
The Brick House, Brick Lane, London
2007
Obras Fotográficas
Galeria Gestual, Porto Alegre RS, Brazil
2005
…and still counting…
Bermondsey Street Studio, London
Galeria Gestual, Porto Alegre RS, Brazil
2004
Painting by Numbers
Galeria Gestual, Porto Alegre RS, Brazil
2003
Where the sea meets the sky
Fotogaleria, Porto Alegre Brazil
2001
Mud Works
Espaço Cultural Sérgio Porto, Rio de Janeiro, RJ Brazil
Fundação Cultural de Criciuma, Criciuma SC Brazil
Pinturas
Fundação Cultural de Curitiba, PR Brazil
Casa de Cultura Mario Quintana, Porto Alegre RS. Brazil
Earthly Spheres
The Winchester Gallery, Winchester, UK
2000
Pinturas
Pinacoteca da Feevale, Novo Hamburgo, RS, Brazil
Eye Levels
Galeria Iberê Camargo, Usina do Gasômetro, Porto Alegre,
1999
Esferas Terrestres
Torreão, Porto Alegre, Brazil
1998
Earthly spheres
Warehouse, Norwich, UK
Watching the waves/Sowing the seed
Windsor Arts Centre Windsor, UK
1996
Grizedale Forest Painting residency
Gallery in The Forest, Grizedale, UK
Line by Line
Evreham Iver, Bucks, UK
1995
Line by Line
Isambard Brunel School. Portsmouth, UK
1994
Line by Line
The Peveril Centre. Eastleigh, UK
Atrium Gallery. Bournemouth University UK
Windrush Leisure Centre, Witney Oxon, UK
Bridgemary Community School, Gosport, UK
South Hill Park Arts Centre. Bracknell, UK
1992
Staying in Line
Bedales Gallery, Petersfield, UK
Upstairs Gallery, Upton Park. Dorset, UK
Instituto de Artes UFRGS Porto Alegre, R.S. Brazil
1982
Photographic Pieces/Timed Activities
Axiom Centre, Cheltenham, UK
GROUP SHOWS
2022
Haverá consequências
Fundação Vera Chaves Barcellos, Viamão-RS Brazil
Digital graffiti 2022
Alys Beach, Florida USA
2020
du neuf à Caunes
Caveaux de l’abbaye, Caunes Minervois, France
2019
Ailleurs
La Tuilerie Saint Joseph, La Livinière, France
2017
Paintings from somewhere else
Youngblood, Cape Town, South Africa
2016
Digital Graffiti 2016
Alys Beach, Florida USA
2015
Ocupando Lucas 21
Galeria Gestual, Porto Alegre RS Brazil
2013
Magmart | international videoart festival
Casoria Contemporary Art Museum, Naples, Italy
Digital Graffiti 2013
Alys Beach, Florida USA
7 Billionth Citizen
Townhouse Gallery, Cairo, Egypt
Solent Showcase Gallery, Southampton, UK
Anglia Ruskin University, Cambridge, UK
Mamute Galeria, Porto Alegre, Brazil
2012
Des | Estruturas
Fundação Vera Chaves Barcellos, Viamão, Brazil
2011
8th Mercosul Biennial
Porto Alegre/RS Brazil
2010
Digital Graffiti
Alys Beach, Florida USA
DIGIT 2010
Narrowsburg, New York, USA
Silêncios e Sussuros
Fundação Vera Chaves Barcellos, Viamão, Brazil
2006
Um olhar fotográfico
Fundação Vera Chaves Barcellos, Porto Alegre, Brazil
2004
Heterodoxia
MASC Florianópolis – SC Brazil
1+1+1
Museu da Gravura, Bagé, RS Brazil
2003
1+1+1
Galeria Gestual, Porto Alegre RS Brazil
Um território da fotografia
Galeria dos Arcos, Usina do Gasômetro, Porto Alegre,
III Salão National de Arte de Goiás
Goiania, GO Brazil
24º Salão de Arte de Riberão Preto
Riberão Preto, SP Brazil
2002
III Salão de Porto Alegre
Usina do Gasômetro Porto Alegre RS Brazil
II Salão National de Arte de Goiás
Goiania, GO Brazil
II Salão de Arte
UNI-BH, Belo Horizonte, MG Brazil
Forest
The Southern Arts Touring Exhibition Service, UK
2000
Bah-zart
Obra Aberta Porto Alegre RS Brazil
II Salão de Porto Alegre
Usina do Gasômetro, Porto Alegre
1999
Chart
Angel Row Gallery, Nottingham, UK.
Coletiva
Obra Aberta, Galeria Chaves, Porto Alegre
1998
Sticks
The Southern Arts Touring Exhibition Service, UK.
1997
The Space of the Page
Henry Moore Institute, Leeds, UK.
1996-7
Repetition
Corn Exchange Newbury, UK
Winchester Gallery, UK
The Gantry, Southampton UK
Milton Keynes Crafts Guild UK
Artsway, UK
Nuova Icona, Venice, Italy
Cacco Zanchi, Aalst, Belgium
1995
Words
Aspex Gallery Portsmouth, UK
Artspace
Square Tower Portsmouth, UK
1994
Art Kites
Milton Keynes Kite Festival. Milton Keynes, UK
1993
On Paper
Contact Gallery, Norwich, UK
Repetere
Solar dos Camara, Porto Alegre RS Brazil
1992
East End Open Studios
Deborah House, Hackney, London, UK
1990
Artists in Botswana
National Gallery of Botswana. Gaborone, Botswana
1984
R.W.A. Annual Exhibition,
Royal West of England Academy, Bristol, UK
1982
Group Photography 2
Axiom Centre, Cheltenham, UK
1978
Wessex Artists
Southampton City Art Gallery, UK
PHOTO: EDUARDO AIGNER
