PORTFÓLIO JOSÉ BECHARA
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JOSÉ <strong>BECHARA</strong>
JOSÉ <strong>BECHARA</strong>
JOSÉ <strong>BECHARA</strong>, Voada I, 2012, acrílico s/ papel Fabriano acrylic on fabriano paper, 30 x 40 cm
JOSÉ <strong>BECHARA</strong>, Particular, 2008, Oxidação de aço s/ lona, Steel oxidation on canvas tarp, 80 x 200 cm
JOSÉ <strong>BECHARA</strong>, Água paraparede 2008, Oxidação de aço e cobre s/ lona, Steel and copper oxidation on canvas tarp, 225 x 250 cm
JOSÉ <strong>BECHARA</strong>, Perna frontal – da série “Temporária”, 2004, Impressão digital Digital print, 195 x 130 cm
JOSÉ <strong>BECHARA</strong>, Berço, série Nova, 2004, digital print, 130 x 160 cm
JOSÉ <strong>BECHARA</strong>, Paramarelo (tríptico) 308 2005, Oxidação de aço s/ lona, Steel oxidation on canvas tarp, 200x 308 cm
JOSÉ <strong>BECHARA</strong> Sem título 2015, Oxidação de aço e cobre s/ lona, Steel and copper oxidation on canvas tarp,140 x 124 cm cada each
JOSÉ <strong>BECHARA</strong>, Vista lateral 1 (da série Paisagem doméstica ou Não me lembro do que<br />
dissemos ontem), 2002<br />
Lightjet print, 80 x 120 cm, registo fotográfico: Dedina Bernardelli
In his paintings he often buys used materials; coverings of trucks from<br />
truck drivers so this material already has the imprints and marks the<br />
time has left on them. Later on in the studio he uses the process and<br />
leaves the material to set so that the elements of heat and humidity or<br />
carbon and steel oxides can act freely and leave a deeper mark.<br />
The House names Bechara´s installation and sculpture project. In this,<br />
José explores the concept of shelter and, starting from the familiar<br />
notion of housing, strives to establish physical, metaphysical and visual<br />
relations about habitat, creating poetic associations that encompass<br />
both it<br />
José Bechara’s painting is a gesture of aggression but also one of<br />
protection – binding tapes – which is ultimately a gesture of time.<br />
Because life, like time, is painting for a Bechara who might subscribe to<br />
the thoughts of Berger when he states that all art based on a deep<br />
observation of nature ends up modifying one’s way of seeing it. And<br />
thus Bechara appropriates different “marks” of time in order to grant<br />
them new life, in order to revive them. All of this is maintained in series<br />
like Pelada (Skinned), which discovers a surface of white leather that<br />
comes from cows, oxen and even foetuses that reveal a texture capable<br />
of registering that life full of marks that previously lashed the animal.<br />
Once again life and its random sketches, once again the marks of a<br />
violence present in Bechara’s work, although it never completely<br />
becomes determining in its poetics. Formally, we note this<br />
extrapolation of materials from painting, far from their original<br />
functions. On this occasion the ready-made exhibits skins and teats<br />
from cows in a rich appropriation that once again reveals a situation of<br />
indifference that is repeated in Bechara’s work (that of professional<br />
butchers, of the bucolic passivity of the chalets in Paraná, and of the<br />
inevitable erosion of things …). Thus José Bechara simply poeticises<br />
with the aid of time. “The great aficionados of antiquity restored<br />
through pity. Through pity we undo their work. We might have also<br />
become accustomed more to the ruins and to the wounds” . Are the<br />
results of Bechara’s paintings not aesthetic mutilations? Isn’t time the<br />
true agent capable of fracturing the meaning of each work? The need<br />
to restore, or rather to re-fabricate, a complete statue starting from<br />
limbs that did not originally belong to it is no longer an issue of our<br />
time; perhaps we are no longer living in such a vain time, or perhaps<br />
this is simply a change in taste. David Barro
JOSÉ <strong>BECHARA</strong> Blackfull | Díptico G | Cabecinha com faixa vermelha | Díptico P 2006 - 2015, Oxidação de aço s/ lona, Steel oxidation on canvas tarp, 70 x 60 cm
JOSÉ <strong>BECHARA</strong> views from the exhibition at Carlos Carvalho Arte Contemporânea, Lisbon, 2005
JOSÉ <strong>BECHARA</strong> views from the exhibition at Carlos Carvalho Arte Contemporânea, Lisbon, 2005
JOSÉ <strong>BECHARA</strong> views from the exhibition at Carlos Carvalho Arte Contemporânea, Lisbon, 2005
JOSÉ <strong>BECHARA</strong> views from the exhibition at Carlos Carvalho Arte Contemporânea, Lisbon, 2008
JOSÉ <strong>BECHARA</strong> views from the exhibition at Carlos Carvalho Arte Contemporânea, Lisbon, 2008
JOSÉ <strong>BECHARA</strong> views from the exhibition at Carlos Carvalho Arte Contemporânea, Lisbon, 2008
JOSÉ <strong>BECHARA</strong> views from the exhibition at Carlos Carvalho Arte Contemporânea, Lisbon, 2008
Carlos Carvalho Arte Contemporânea<br />
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