Gersion de Castro
Poetic visual evidence
The painting of de Castro Gersion already received many compliments, but they, in their great majority, insist on putting the artist as a kind of reporter of the canvas, emphasizing its ability to create images on the paranoia, Administrative Region of the Federal District (DF ) which is 20 minutes from the center of the country's capital, Brasilia.
The site, now with a population of approximately 65 thousand people, holding, in fact, an important story because it appeared in 1957, with the arrival of the first workers for the construction of Brasilia, more specifically to the works of the dam of paranoia.
Over the years, were added to the structure of the ancient towns of camp housing. The region was considered a major invasion of the DF and the place just won public recognition in the late 1980s, after a long history of resistance and struggle of the residents.
Born in Brasilia, DF, on November 8, 1969 Gersion followed this story and his art has this universe as motto. He does not screen for the Paranoá today, but who knew as a child, with lack of water and light, accumulated huts and scenes of leisure on the weekends.
It was this reality that Gersion began to draw on the walls of the wooden shack where he lived. Encouraged by parents and older sister, started to make drawings for community newspapers and posters to advertise cultural events, festivals of music, Jerk and religious celebrations.
The contact with visual artists such as Isabel Hilgenberg and Marlene Godoy, it was important to improve the technical knowledge, but his poetry was already crystallized in the way they see the paranoia. Not only is it an issue, but a wealth of visual stimuli.
The intensity of color is an important feature, as well as the ability compose groups of people interacting with the screens in the middle. Tents, poles and light characters are usually the low scenario of a main event that wins the center of the screen.
Claims that aim to fix the paranoia, dozens of people taking cans of water to be attended by a kite or the car color of clothing and flags of the traditional festivities June plastically are resolved in a blend of knowledge of a fact plus the ability technique.
You can not run the risk of understanding the art of Gersion Castro only as a historical or sociological evidence. He feeds this reality in his paintings and drawings, but its value as an artist is also plastic.The way makes their places above the compositions of the subject that portrays.
The painter of Brasilia holds a poetic visual statement that is distinguished by sincerity and a complex mechanism and personalíssimo composition of memories and fragments of its history. This is a legitimate way, but if the matter were otherwise, the end result would also be wonderful.
Oscar D'Ambrosio, journalist and Master of Visual Arts at the Art Institute of Unesp, includes the International Association of Art Critics (AICA-Section Brazil).