Oh, my God! He did it
again! He walks again along the boulevard of contemporary
art's cutting edge, bouncing with vigorous invention,
far beyond the bounds of expected reasonable possibilities,
now coming up with this astonishing autogenesis, charming
and wonderfully absurd, screaming colors disturbing
the standardized patterns of the on-going tendencies,
resembling some sort of special effects sensational
circus number, a striking explosion of raging artistic
headlines, whatever, shockwaves of hiper chromatic flash,
loud and sustained, shrill and piercing, animated gifts
switching to moving thingies, or so it seems, downright
overwhelming for any tolerant viewer's eyes, like mustard
mix with reddish and a whole lot of stripes! Narrative
powders, striking impressions all over this tempting
flavors shocking shimmery festival! Should the present
approach be viewed as a first step towards obtaining
universal recognition or must this be interpreted as
the historic golden keys to open the doors to the seven
templates before divine madness? Antonio Pessoa's maddening
prodigy of composition, promising artistic isotopic
lunacy, colors entering the canvas like a visual adaptation
on some Stanley Kubrick conceptual orgy, or a Steven
Spielberg script digitized and reconstructed in a indelibly
haunting endlessly fascinating gallery of adhesive transitions,
gorgeous enigmatic sentences projecting a strong imperative
impact where the required invisible final touch seems
long gone to have turned into an intoxicating encore
of purposefully passionate variations of wild art action
super color magic velocity. Cognitive materials at every
crossroad continue as if it has always been there without
even the grinding artistic percussion, building up to
break down, enter and exit in such a general contrasting
visual effect only an artist like Pessoa could possibly
come up with. Too much of too much, indeed! Lovely.
Antonio Pessoa does it in such a unique way that as
far as I am concerned, New Line seems to have no links
with any contemporary art current references whatsoever.
Daring and new the artist once again proves to be the
unquestionable cutting edge of today's art scene. A
free man and an independent eccentric art maker, ecclectic
in his glamorous lifestyle and proud of his wealthy
creativity, provides us systematically with artistic
real-time news, as in New Line, more unusual than ever,
the pretty boy of today's big time art collectors, invisible
to the average citizen yet a growing public phenomenon,
Pessoa claims a new area of emotion- oriented fine art,
in which the resulting visual effects link him to the
top conceptual creators of the new age by laying out
the notion that the possibility to accomplish the impossible
is merely the beginning of a long-term artistic strategic
context and most importantly an artistic wide range
communicative attitude. The overpricing of initial art
dealers offerings this year, has developed a new somewhat
unexpected information concerning Antonio Pessoa's latest
oeuvre. His nineties Romantic Period artworks adjustment
was therefore inevitable, creating the proper balance,
moreover extraordinary results not only in the artist's
finantial status but on the whole improving his collaborators
team working machine, plus a significant enthusiasm
in public relations, spreading fast, as an interchange
of fluent dynamics, that degree of global evaluation
that appear to occur, very often creating conflicts
and contradictions between Antonio Pessoa and the art
market coverage areas and promotion campaign that in
reality means little or nothing for the artist, at least
from his private assumption and his personal outlook
of the global context related to the art scene general
and sometimes obscure outs and abouts. The hyperconfident
Antonio Pessoa astounds with his ability to express
directly to the viewers his artistic science, just to
turn his back to the tedious art market oscillations,
as a good chance and excellent excuse to go back to
his studio comfort, exploring the sectors of life he
enjoys the most. Despite Pessoa's latest artistic preferences
and even model references such as Eugene Brands, represented
by Elisabeth den Bieman Dehass, Jacques Bage, Arnold
Niessen and Anne Vignal, their artworks available at
Galerie Blom, Niklas Anderberg, Robert Brandy, Mario
Morunti, plus the amazing Gerard Hendriks, if I'm not
mistaken represented by Gallery Chicory...the artist
however seems to be moving towards a much more advanced
research of what contemporary art can, should be and
indeed is, accomplishing its most dominant exuberance
and distinguished innovation in the spontaneous cutting
edge ideas such as New Line. Antonio Pessoa's sustainable
artistic maturity and trajectory, despite being now
and then eventually favored at the expense of other
artists, such as Chris Berens, Dorien Plaat, Richard
Smeets, Joan Miró, Pollock, Harrie Gerritz and
Klaas Gubbels, on the whole he is essentially far more
original by embracing a awesome new way of art expression
where the dominant theme and nature is unquestionably
his colors unrestrained movements, perhaps frequently
with excessive exuberance, although wisely mitigated
by his outstanding drawing skills and composition unique
possibilities, another dominant significance highlighting
the progress of his imagination grandeur and inevitably
seeking to enforce the general public concept of what
contemporary expression should be as part of today's
world actions and reactions. The evaluation and significance
of hyperchromatic New Line, should after all be left
to the personal judgement of the viewer, like an overpigmented
fine art atlas, a subjective document where the eye
and perception increase their depth of focus and interpretation.
If the artist's intention was indeed to create art-abstract
with suggestive keywords or hidden messages or even,
shall we say, top classified information, theoretically
that could stand for a tricky way of harmless playful
perversion, meant to inhibit the viewer diagnosis and
in so doing forcing a further challenge to the brain
cells or a double focused approach on the look out for
a suitable meaning possibly present somewhere across
the different components of such a nutritious composition.
This balanced weighing up of evidence and meaningful
content might be as well Antonio Pessoa's need of hope
to challenge the viewer attempt to collect some self-reflection
using the painting as a mirror, like a wall art made
to test the viewer's capacity to exercise introspection
or otherwise, to transcend the philosophical limits
and thereby start questioning the artist's intentions,
secret profile. What one can feel and do before this
intense color traffic jam is one of the interesting
adventures any art lover can come across, standing still
in a crowded art show opening night, or at the home-sweet-home
privacy as any serious art collector should. My educated
intuition and viewpoint whisper in my ear that very
probably, knowing the artist as I actually do, that
the law of attraction - even dismissed the ultimate
need for scientific proof - might as well be playing
an interesting role as far as this masterpiece titled
New Line is concerned. So it might happen that indeed
Antonio Pessoa's dominant thought during the making
of New Line, was actually telling him that he attracts
into his oeuvre reputation whatever he thinks about.
This subliminal message might have been the hypnotic
motivation I know he has, that the wholesome of his
latest and upcoming oeuvre should and must attract the
New Line of art collectors. What do you know! For so
very often without sharpness of edge or point Antonio
Pessoa art expression can be as direct and outspoken,
some other times the artist takes the opposite option,
not led by any circumstances changes, but as a delicious
solution for a specific artistic strategy, delivered
free, nevertheless keeping for himself a whole great
stock of valuable explanations and most importantly
a relevant amount of private classified information.
And that's as much out in the open the artist's inner
self configuration manual goes. The artistic impact
hides the undiscovered master of art fiction, a dimension
of privacy not even celebrity interviews nor steady
gossip manage to guess let alone figure out what's behind
the New Line!
