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- Chromatics syntonies, he can build,

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FLÁVIO COHN
GALLERY OWNER

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as he said, that he seeks...

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FABIO MAGALHÃES 
TEACHER

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- This is common in the relation 
between the artist and his work...

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MANFREDO SOUZANETTO
ARTIST

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- It's actually the color that...

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LUIS DOLINO
ARTIST

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- Rodrigo once had the opportunity 
to tell me in a conversation...

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(All talking at the same time)

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CHROMATICS CHORDS

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THE WORK OF RODRIGO DE CASTRO

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- I'll take the mask off a little bit, 
it's just us here.

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I felt calls of interest for art,

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I felt when I was younger,

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my father came home, sometimes,
with gouache, brush, paper

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and encouraged me and my sister 
to create something

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spread it all over the living room floor.

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What I liked to see was the mix,

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the basic thing, 
we mixed one color

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with another and had another color.

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And I got this interest for 
colors until adolescence.

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RIO, 1960's

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What happened was like this,

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my father got married 
and went to live in Rio de Janeiro,

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and we had lived there until 
I was about fifteen,

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when he won the Guggenheim award

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and then we moved 
the whole family to New York.

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I had lived there for four years, 
I went to high school there,

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And my father found out that 
I could go to the Vietnam War

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and with this risk, my father said 
that I was going back to Brazil.

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That's why I came back to Brazil,

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I went to live in my grandfather's house, 
in Belo Horizonte.

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But I asked for a transfer 
to a college in São Paulo,

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and I stayed here, 
I got married, I made my life here.

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With daughters Marcela and Manuela.

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With grandson Gael.

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When I started to paint

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I already started thinking 
about the colors

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within a geometric structure.

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I didn't start painting landscape 
or something like that,

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I've already started 
the construction with the color.

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Sometime back in the 80s,

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I got close to some artists in São Paulo,

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and other friendships emerged,

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I got very close to Manfredo,

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that ended up bringing me 
closer to Dolino.

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- Rodrigo de Castro is an artist 
who uses the geometric language,

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therefore, a first cousin, 
we are in the same boat,

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we enjoy the same language, 
the same creative purpose,

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from the elements of 
a very simplified grammar

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trying to explain something 
with our artwork.

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Rodrigo, in addition of being a master 
of the composition, the finishing,

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the finesse in the painting 
that he has been doing,

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he's also a noteworthy colorist.

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- I believe that my work 
and the Rodrigo's work,

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we followed this strand that was triggered

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by the teachings of Weissmann, Guignard

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and Edith Behring at Escola Guignard 
in Belo Horizonte.

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We may be the fourth generation

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of a school that lasts, 
that influenced and that formed

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the art in Minas Gerais.

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- When you make 
the first gesture on the canvas,

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the canvas responds to you

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this dialogue already begins 
to change its initial purpose,

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because the creature already exists.

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I would say it's a process, 
not a conversion,

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then what is called regret, etc.

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it's a very tense dialogue 
between the artist and his canvas.

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- He has a clarity, a syntony, 
a very fine clarity.

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and very defined of which is 
the universe he explores,

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what are these colors, 
how he relates these colors,

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how he matures these colors 
so that they become its own,

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because the blue colors 
are a universal blue,

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but what makes the blue that he works

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with the relation 
he establishes in the painting,

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with the white, with the gray 
and the black.

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What chromatics syntonies
he can build, as he said,

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that he looks when he's painting,

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as if it were a chromatic chord, 
as if he were playing piano,

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strumming the chords and 
suddenly he finds a harmony,

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a chromatic harmony 
that has a sound, a vibration

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that makes him identify, 
make this composition,

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and that people feel this harmony.

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- But this dialogue exists every day

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until in the end 
we have a finished work

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that it must vibrate a chord 
that I believe can come out

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of the canvas into the world.

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I go home at the end of the day,

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the canvas sleeps, I sleep,

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when we meet again, 
it has things to tell me

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and I have things to observe 
and pay attention

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if what I did the day before,

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what the canvas is telling me 
is in accordance with what

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I imagined would be 
the result of my work.

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And what the canvas tells me 
change my original purpose

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because I see that it had 
more reason than I was before,

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it got better than I imagined.

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I see the line as, it can 
split a space in parts,

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but most of the time, 
when I think in the line,

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it will not share a space, 
it will create new ones

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and the creation of these spaces 
with the line happens with the color.

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- It's that the line tensions the space,

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apparently it's having 
a rupture in the space,

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but, actually, it's like being in a room, 
let's do a metaphor like this,

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and suddenly a light starts 
to illuminate this space,

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so, the line enhances 
the space where it is.

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For me, it's a very important 
element in your language.

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- Rodrigo has the privilege of color, 
he is a great colorist.

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He is a person who leaves 
unique and fantastic tracks.

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He can discover the color 
of where I don't know.

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- And the colors,

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as they are the raw material of my work,

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they translate, 
at least that's what I try,

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so that they can translate my thoughts

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in the most sensitive way possible.

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- What we do as geometric art,

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therefore, based 
on principles of mathematics,

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it has a proximity, 
an intense kinship with the music.

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And when he talks about a chord,

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he's talking about 
an element of the music

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and expressing very well 
the path that he traverses to color.

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- And, normally, the painting 
has always a history

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of you building 
the work from the drawing.

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And, in fact, in Rodrigo's work 
is the color that builds the geometry,

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and this is what gives, certainly, 
a specificity to his work

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and that I consider a beautiful 
contribution to Brazilian art.

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- It was Manfredo who 
introduced me to this possibility

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of editing engravings, 
images, that are multiple

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and which would allow better access 
or greater access to our work,

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and I felt so pleased 
with this possibility

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that I wanted, almost unconsciously,

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to thank Manfredo for 
this possibility given to me,

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And I approached of Papel Assinado, 
Rodrigo de Castro.

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He is editing engravings, albums, books 
through this great publishing house.

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- My first experience with engraving

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it happened the first time in 90, 92.

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And it was a completely 
different experience

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because the process of making 
the engraving on the stone

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it was an experience 
that I enjoyed, it was cool.

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Now appeared this opportunity, 
something new,

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to make these screen printing series

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which is an experience 
that made me very happy.

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- I'm making these prints for Rodrigo, 
with great pleasure, a wonderful artist

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and we're making more 
than ten images for him,

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and we're going to make more, God willing.

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- The result of my printed work
on that quality of paper,

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I was able to achieve 
the color the way I wanted.

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I loved it, I found it spectacular, 
much better than I imagined.

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I got a spectacular result there.

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And this gives the artist 
the joy of seeing

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his work ready

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and the willingness to take 
my work outside of the atelier.

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When painting, art, whatever it is,

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comes in contact with people, 
that's when the art is accomplished,

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it's when the art fulfills 
its role with the society.

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- As we talk about 
artistic identity and brand,

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I think the artist can 
create this identity

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when he makes his work stay
in our memory and in the history.

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- I'm happy because I realize

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that we are together 
in the same creative boat,

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with this man who has the refinement,

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the fineness of composing,

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of illustrating with a unique, 
exclusive color.

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Owner of a language, 
Rodrigo de Castro is a master.

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what we may want more?

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DIRECTOR AND SCRIPT

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EDITING AND PHOTOGRAPHY

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SOUNDTRACK

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PRODUCTION

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EXECUTIVE PRODUCTION

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CURATORSHIP

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RESEARCH

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COURTESY IMAGES

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POST-PRODUCTION

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SPECIAL ACKNOWLEDGMENT

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ACKNOWLEDGEMENT 
TO SCREEN PRINTERS

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ACKNOWLEDGEMENT

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TESTMONIALS

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SOUNDS EFECTS

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TRANSLATION

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EXECUTION