WEBVTT

00:00:02.356 --> 00:00:05.027
- Chromatics syntonies, he can build,

00:00:05.027 --> 00:00:06.235
FLÁVIO COHN
GALLERY OWNER

00:00:06.235 --> 00:00:07.876
as he said, that he seeks...

00:00:07.986 --> 00:00:09.211
FABIO MAGALHÃES 
TEACHER

00:00:09.211 --> 00:00:13.631
- This is common in the relation 
between the artist and his work...

00:00:13.631 --> 00:00:15.425
MANFREDO SOUZANETTO
ARTIST

00:00:15.425 --> 00:00:18.085
- It's actually the color that...

00:00:18.696 --> 00:00:19.953
LUIS DOLINO
ARTIST

00:00:19.953 --> 00:00:23.158
- Rodrigo once had the opportunity 
to tell me in a conversation...

00:00:23.752 --> 00:00:26.712
(All talking at the same time)

00:00:34.200 --> 00:00:36.660
CHROMATICS CHORDS

00:00:42.749 --> 00:00:46.073
THE WORK OF RODRIGO DE CASTRO

00:00:51.640 --> 00:00:54.750
- I'll take the mask off a little bit, 
it's just us here.

00:00:56.866 --> 00:01:01.632
I felt calls of interest for art,

00:01:01.868 --> 00:01:05.508
I felt when I was younger,

00:01:05.508 --> 00:01:10.108
my father came home, sometimes,
with gouache, brush, paper

00:01:11.243 --> 00:01:15.583
and encouraged me and my sister 
to create something

00:01:15.583 --> 00:01:18.332
spread it all over the living room floor.

00:01:18.332 --> 00:01:22.163
What I liked to see was the mix,

00:01:22.163 --> 00:01:24.387
the basic thing, 
we mixed one color

00:01:24.387 --> 00:01:27.253
with another and had another color.

00:01:27.267 --> 00:01:34.007
And I got this interest for 
colors until adolescence.

00:01:37.078 --> 00:01:39.878
RIO, 1960's

00:01:39.941 --> 00:01:42.201
What happened was like this,

00:01:42.915 --> 00:01:45.795
my father got married 
and went to live in Rio de Janeiro,

00:01:46.696 --> 00:01:51.516
and we had lived there until 
I was about fifteen,

00:01:51.516 --> 00:01:55.666
when he won the Guggenheim award

00:01:55.666 --> 00:02:00.167
and then we moved 
the whole family to New York.

00:02:00.419 --> 00:02:05.489
I had lived there for four years, 
I went to high school there,

00:02:09.174 --> 00:02:16.704
And my father found out that 
I could go to the Vietnam War

00:02:17.708 --> 00:02:22.868
and with this risk, my father said 
that I was going back to Brazil.

00:02:23.826 --> 00:02:27.576
That's why I came back to Brazil,

00:02:27.584 --> 00:02:30.754
I went to live in my grandfather's house, 
in Belo Horizonte.

00:02:31.263 --> 00:02:34.703
But I asked for a transfer 
to a college in São Paulo,

00:02:34.984 --> 00:02:37.917
and I stayed here, 
I got married, I made my life here.

00:02:37.917 --> 00:02:39.961
With daughters Marcela and Manuela.

00:02:39.961 --> 00:02:41.739
With grandson Gael.

00:02:45.782 --> 00:02:48.642
When I started to paint

00:02:49.873 --> 00:02:54.751
I already started thinking 
about the colors

00:02:55.469 --> 00:02:58.369
within a geometric structure.

00:02:58.874 --> 00:03:03.894
I didn't start painting landscape 
or something like that,

00:03:04.302 --> 00:03:08.042
I've already started 
the construction with the color.

00:03:08.901 --> 00:03:11.341
Sometime back in the 80s,

00:03:11.934 --> 00:03:14.283
I got close to some artists in São Paulo,

00:03:14.593 --> 00:03:16.874
and other friendships emerged,

00:03:16.874 --> 00:03:19.602
I got very close to Manfredo,

00:03:19.898 --> 00:03:24.498
that ended up bringing me 
closer to Dolino.

00:03:25.264 --> 00:03:29.464
- Rodrigo de Castro is an artist 
who uses the geometric language,

00:03:29.464 --> 00:03:33.078
therefore, a first cousin, 
we are in the same boat,

00:03:33.114 --> 00:03:36.704
we enjoy the same language, 
the same creative purpose,

00:03:36.704 --> 00:03:40.088
from the elements of 
a very simplified grammar

00:03:40.094 --> 00:03:43.404
trying to explain something 
with our artwork.

00:03:44.251 --> 00:03:48.531
Rodrigo, in addition of being a master 
of the composition, the finishing,

00:03:48.531 --> 00:03:51.838
the finesse in the painting 
that he has been doing,

00:03:51.853 --> 00:03:54.393
he's also a noteworthy colorist.

00:03:58.139 --> 00:04:01.909
- I believe that my work 
and the Rodrigo's work,

00:04:01.909 --> 00:04:07.036
we followed this strand that was triggered

00:04:07.042 --> 00:04:10.752
by the teachings of Weissmann, Guignard

00:04:10.752 --> 00:04:13.532
and Edith Behring at Escola Guignard 
in Belo Horizonte.

00:04:14.122 --> 00:04:17.252
We may be the fourth generation

00:04:17.252 --> 00:04:21.349
of a school that lasts, 
that influenced and that formed

00:04:21.349 --> 00:04:23.164
the art in Minas Gerais.

00:04:30.077 --> 00:04:34.137
- When you make 
the first gesture on the canvas,

00:04:34.714 --> 00:04:37.094
the canvas responds to you

00:04:38.753 --> 00:04:43.063
this dialogue already begins 
to change its initial purpose,

00:04:43.063 --> 00:04:46.133
because the creature already exists.

00:04:46.133 --> 00:04:48.790
I would say it's a process, 
not a conversion,

00:04:49.080 --> 00:04:52.544
then what is called regret, etc.

00:04:53.740 --> 00:04:58.250
it's a very tense dialogue 
between the artist and his canvas.

00:05:17.727 --> 00:05:24.077
- He has a clarity, a syntony, 
a very fine clarity.

00:05:24.386 --> 00:05:28.896
and very defined of which is 
the universe he explores,

00:05:28.896 --> 00:05:31.737
what are these colors, 
how he relates these colors,

00:05:31.972 --> 00:05:35.972
how he matures these colors 
so that they become its own,

00:05:35.972 --> 00:05:39.439
because the blue colors 
are a universal blue,

00:05:39.439 --> 00:05:42.137
but what makes the blue that he works

00:05:42.137 --> 00:05:46.078
with the relation 
he establishes in the painting,

00:05:46.078 --> 00:05:49.138
with the white, with the gray 
and the black.

00:05:49.138 --> 00:05:52.495
What chromatics syntonies
he can build, as he said,

00:05:52.764 --> 00:05:55.414
that he looks when he's painting,

00:05:55.414 --> 00:05:59.646
as if it were a chromatic chord, 
as if he were playing piano,

00:05:59.721 --> 00:06:04.401
strumming the chords and 
suddenly he finds a harmony,

00:06:04.810 --> 00:06:09.930
a chromatic harmony 
that has a sound, a vibration

00:06:09.930 --> 00:06:13.993
that makes him identify, 
make this composition,

00:06:13.993 --> 00:06:17.189
and that people feel this harmony.

00:06:19.459 --> 00:06:22.279
- But this dialogue exists every day

00:06:22.279 --> 00:06:25.684
until in the end 
we have a finished work

00:06:25.684 --> 00:06:30.614
that it must vibrate a chord 
that I believe can come out

00:06:30.614 --> 00:06:32.777
of the canvas into the world.

00:06:35.114 --> 00:06:38.594
I go home at the end of the day,

00:06:39.439 --> 00:06:41.659
the canvas sleeps, I sleep,

00:06:41.659 --> 00:06:45.704
when we meet again, 
it has things to tell me

00:06:45.775 --> 00:06:50.235
and I have things to observe 
and pay attention

00:06:50.235 --> 00:06:52.925
if what I did the day before,

00:06:54.528 --> 00:06:58.825
what the canvas is telling me 
is in accordance with what

00:06:58.825 --> 00:07:03.121
I imagined would be 
the result of my work.

00:07:03.783 --> 00:07:07.406
And what the canvas tells me 
change my original purpose

00:07:07.406 --> 00:07:11.336
because I see that it had 
more reason than I was before,

00:07:11.336 --> 00:07:13.322
it got better than I imagined.

00:07:33.989 --> 00:07:42.049
I see the line as, it can 
split a space in parts,

00:07:42.360 --> 00:07:45.920
but most of the time, 
when I think in the line,

00:07:45.920 --> 00:07:49.164
it will not share a space, 
it will create new ones

00:07:49.347 --> 00:07:54.037
and the creation of these spaces 
with the line happens with the color.

00:07:54.037 --> 00:07:57.074
- It's that the line tensions the space,

00:07:58.085 --> 00:08:01.733
apparently it's having 
a rupture in the space,

00:08:01.733 --> 00:08:06.570
but, actually, it's like being in a room, 
let's do a metaphor like this,

00:08:06.570 --> 00:08:09.367
and suddenly a light starts 
to illuminate this space,

00:08:09.876 --> 00:08:13.646
so, the line enhances 
the space where it is.

00:08:13.646 --> 00:08:17.735
For me, it's a very important 
element in your language.

00:08:29.252 --> 00:08:33.422
- Rodrigo has the privilege of color, 
he is a great colorist.

00:08:33.422 --> 00:08:38.838
He is a person who leaves 
unique and fantastic tracks.

00:08:38.838 --> 00:08:42.058
He can discover the color 
of where I don't know.

00:08:42.455 --> 00:08:44.350
- And the colors,

00:08:44.350 --> 00:08:47.666
as they are the raw material of my work,

00:08:47.666 --> 00:08:51.158
they translate, 
at least that's what I try,

00:08:51.158 --> 00:08:54.868
so that they can translate my thoughts

00:08:55.087 --> 00:08:57.887
in the most sensitive way possible.

00:08:58.277 --> 00:09:00.419
- What we do as geometric art,

00:09:00.545 --> 00:09:03.129
therefore, based 
on principles of mathematics,

00:09:03.129 --> 00:09:08.623
it has a proximity, 
an intense kinship with the music.

00:09:08.623 --> 00:09:10.760
And when he talks about a chord,

00:09:10.760 --> 00:09:13.266
he's talking about 
an element of the music

00:09:13.361 --> 00:09:18.111
and expressing very well 
the path that he traverses to color.

00:09:20.023 --> 00:09:24.353
- And, normally, the painting 
has always a history

00:09:24.353 --> 00:09:29.143
of you building 
the work from the drawing.

00:09:29.143 --> 00:09:34.089
And, in fact, in Rodrigo's work 
is the color that builds the geometry,

00:09:34.089 --> 00:09:40.288
and this is what gives, certainly, 
a specificity to his work

00:09:40.428 --> 00:09:44.888
and that I consider a beautiful 
contribution to Brazilian art.

00:09:49.354 --> 00:09:52.704
- It was Manfredo who 
introduced me to this possibility

00:09:52.704 --> 00:09:57.173
of editing engravings, 
images, that are multiple

00:09:57.173 --> 00:10:01.883
and which would allow better access 
or greater access to our work,

00:10:02.357 --> 00:10:06.677
and I felt so pleased 
with this possibility

00:10:06.739 --> 00:10:10.009
that I wanted, almost unconsciously,

00:10:10.009 --> 00:10:14.222
to thank Manfredo for 
this possibility given to me,

00:10:14.222 --> 00:10:17.977
And I approached of Papel Assinado, 
Rodrigo de Castro.

00:10:18.087 --> 00:10:23.401
He is editing engravings, albums, books 
through this great publishing house.

00:10:26.615 --> 00:10:29.975
- My first experience with engraving

00:10:29.975 --> 00:10:33.208
it happened the first time in 90, 92.

00:10:33.268 --> 00:10:36.361
And it was a completely 
different experience

00:10:36.429 --> 00:10:40.509
because the process of making 
the engraving on the stone

00:10:40.865 --> 00:10:44.345
it was an experience 
that I enjoyed, it was cool.

00:10:50.235 --> 00:10:54.085
Now appeared this opportunity, 
something new,

00:10:54.772 --> 00:10:57.772
to make these screen printing series

00:10:57.772 --> 00:11:00.724
which is an experience 
that made me very happy.

00:11:01.747 --> 00:11:06.247
- I'm making these prints for Rodrigo, 
with great pleasure, a wonderful artist

00:11:07.294 --> 00:11:11.214
and we're making more 
than ten images for him,

00:11:11.333 --> 00:11:14.583
and we're going to make more, God willing.

00:11:21.065 --> 00:11:25.335
- The result of my printed work
on that quality of paper,

00:11:25.335 --> 00:11:30.373
I was able to achieve 
the color the way I wanted.

00:11:30.373 --> 00:11:34.125
I loved it, I found it spectacular, 
much better than I imagined.

00:11:34.125 --> 00:11:37.044
I got a spectacular result there.

00:11:37.177 --> 00:11:41.884
And this gives the artist 
the joy of seeing

00:11:41.884 --> 00:11:43.284
his work ready

00:11:43.674 --> 00:11:48.216
and the willingness to take 
my work outside of the atelier.

00:11:50.776 --> 00:11:55.306
When painting, art, whatever it is,

00:11:55.306 --> 00:12:00.628
comes in contact with people, 
that's when the art is accomplished,

00:12:00.755 --> 00:12:03.795
it's when the art fulfills 
its role with the society.

00:12:06.577 --> 00:12:10.827
- As we talk about 
artistic identity and brand,

00:12:10.827 --> 00:12:14.389
I think the artist can 
create this identity

00:12:14.865 --> 00:12:21.312
when he makes his work stay
in our memory and in the history.

00:12:34.539 --> 00:12:37.209
- I'm happy because I realize

00:12:37.221 --> 00:12:40.928
that we are together 
in the same creative boat,

00:12:40.928 --> 00:12:43.268
with this man who has the refinement,

00:12:43.268 --> 00:12:44.998
the fineness of composing,

00:12:44.998 --> 00:12:48.537
of illustrating with a unique, 
exclusive color.

00:12:48.547 --> 00:12:51.387
Owner of a language, 
Rodrigo de Castro is a master.

00:12:51.783 --> 00:12:53.903
what we may want more?

00:12:57.589 --> 00:13:00.069
DIRECTOR AND SCRIPT

00:13:05.897 --> 00:13:08.437
EDITING AND PHOTOGRAPHY

00:13:12.639 --> 00:13:14.859
SOUNDTRACK

00:13:19.425 --> 00:13:21.555
PRODUCTION

00:13:28.431 --> 00:13:30.901
EXECUTIVE PRODUCTION

00:13:34.909 --> 00:13:37.279
CURATORSHIP

00:13:41.068 --> 00:13:43.158
RESEARCH

00:13:49.310 --> 00:13:51.860
COURTESY IMAGES

00:13:54.790 --> 00:13:57.200
POST-PRODUCTION

00:14:00.294 --> 00:14:02.742
SPECIAL ACKNOWLEDGMENT

00:14:07.725 --> 00:14:10.385
ACKNOWLEDGEMENT 
TO SCREEN PRINTERS

00:14:12.115 --> 00:14:14.225
ACKNOWLEDGEMENT

00:14:16.767 --> 00:14:19.027
TESTMONIALS

00:14:23.719 --> 00:14:25.779
SOUNDS EFECTS

00:14:27.851 --> 00:14:29.691
TRANSLATION

00:14:32.470 --> 00:14:34.880
EXECUTION