Walter Miranda
Plastic Artist

Works of the artist

Listing 185 items – Theme

Philosophical Issues

Brave New Middle Age - The ennoblement of man - 2

2020

    – Philosophical Issues

    – Political and Social Issues

    – Brave New Middleage

Brave New Middle Ages – New Corona 1.9

2020

    – Digital Works

    – Philosophical Issues

    – Brave New Middleage

From the seattle project series: The heart of Gaia - 2

2020

    – Philosophical Issues

    – Seattle Project

    – Requiem to Gaia

From the seattle project series:- The brothers of man - 2

2020

    – Philosophical Issues

    – Seattle Project

    – Requiem to Gaia

EXALTATION TO GAIA - XXI

2018

    – Philosophical Issues

    – Exaltation to Gaia

EXALTATION TO GAIA - XXII

2018

    – Philosophical Issues

    – Exaltation to Gaia

Requiem for Gaia - Fecundationis Artificiosae

2018

    – Objects

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Requiem for Gaia - Foucault ICU

2018

    – Objects

    – Philosophical Issues

    – Cartographies of Gaia

    – Objects

    – Requiem to Gaia

Requiem for Gaia - Inside Out

2018

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Requiem for Gaia - In splendid cradle

2018

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Requiem for Gaia - In Totum 8

2018

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Requiem for Gaia - Tower of Babel

2018

    – Objects

    – Philosophical Issues

    – Cartographies of Gaia

    – Objects

    – Requiem to Gaia

Requiem for Gaia - Universalis Cosmographia - II

2018

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Requiem for Gaia - Universalis Cosmographia - I

2018

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

SEDES SAPIENTIAE IV

2018

    – Philosophical Issues

    – Cartographies of Gaia

    – Others

Harbor book

2017

    – Objects

    – Philosophical Issues

    – Cartographies of Gaia

    – Gaia's Book

    – Objects

    – Others

All quiet on the Western Front with Soul

2017

    – Philosophical Issues

    – Exaltation to Gaia

    – Seattle Project

Our daily electronic junk!

2017

    – Objects

    – Philosophical Issues

    – Cartographies of Gaia

    – Objects

    – Requiem to Gaia

Requiem for Gaia - Romantic Cartography

2017

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Requiem for Gaia – In Totum 5

2017

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Requiem for Gaia - In Totum 7

2017

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Requiem for Gaia – In Totum 8

2017

    – Philosophical Issues

    – Cartographies of Gaia

    – Requiem to Gaia

Our daily safety - II

2016

    – Philosophical Issues

    – Brave New Middleage

Bosch + 500 – The last judgment

2016

    – Philosophical Issues

    – Others

Confucius and the Five Virtues of the Wise Man

2016

    – Philosophical Issues

    – Others

The infinite universes of Giordano Bruno

2016

    – Philosophical Issues

    – Others

The four seasons of the Year

2015

    – Philosophical Issues

    – Others

More works 'Questões Filosóficas'

Catalogue Cartographies of Gaia

Catalogue of the exhibition Cartographies of Gaia held at the Nilton Zanotti gallery at the Palácio das Artes in Praia Grande and at the Cultural Center of Correios in São Paulo.

Confucius and the Five Virtues of the Wise Man


Unesp, the University of the State of São Paulo, through a partnership with the Confucius Institute, invited 15 artists to participate in the "The eye on China" project. Each artist received from Unesp the book "The Analects", to read and create a work based on the teachings of Confucius.


Reading the book I realized that Confucius based  his teaching on three themes (study, friendship and nobleman) and that five factors are constant in his cognitive system of teachings, namely:


 


5 elements: metal, water, wood, fire and earth.


5 colors: white, black, green, red and yellow.


5 human qualities: gentle, kind, courteous, frugal and humble.


5 organs: lung, kidneys, liver, heart and spleen.


5 emotions: sadness, fear, irritability, joy and anxiety, reflection and concern.


 


Curiously, the elements are correlated with the colors: metal = white; water = black; wood = bluish green; Fire = red and earth = yellow.


 


Having this numerical principle in mind, I have idealized a geometric composition using rectangles and triangles which act as aesthetic elements and are always repeated in the same quantity. These rectangles and triangles serve as a basis for incorporating computer boards, Chinese ideograms representing the five emotions mentioned by Confucius, and visual references to the elements of nature; main colors; human qualities, etc.


 


In addition to Chinese, concepts I also had incorporated into the work Western concepts that I usually use in my paintings. So in each rectangle, I used silhouettes of dancers that direct the viewer's gaze to some visual elements present in each part of the work and in the center of I included a silhouette that resembles the Vitruvian man. In it I added a sixth ideogram that can be translated as "wise and intelligent man".


 


At the base of the painting I placed the silhouette of a computer, two hands holding a pen and a pencil, and I incorporated a pen, in an allusion that all the human qualities discussed by Confucius depend exclusively on education, no matter the time.


 


In the upper part of the painting I placed painted images of the planet earth, moon and the sun, a triad that follow my works long ago and tries to demonstrate that, above all, we are part of a system extremely harmonious and balanced and superior to our pretensions of mastery of nature.


 


Technique: oil + objects on wood.


Dimensions : 73 cm X 69,5cm


Year: 2016


                                                                                                                                                   Author : Walter Miranda


 

BOSCH + 500 - THE LAST JUDGMENT

This is a triptych commemorating the 500th anniversary of the death of the famous Dutch painter Hieronymous Bosch. It represents a reinterpretation of Bosch's painting called The Last Judgment, including the physical assembly of the articulating panel that opens as if it were a window.


The thematic comparison between the two works is based in the social issues of the late Middle Ages, represented by Bosch in his triptych, and various conflicting situations of the 21st century, such as war conflicts, ecological devastation, disrespect for life, pandemics etc.


 


Technique: Oil on canvas + objects on wood


Dimensions: 58 X 73 X 5cm


Year: 2016


 


                                                                                                                              Walter Miranda - 2016


 


 

The Infinite Universes of Giordano Bruno

This work is a tribute to Giordano Bruno (1548-1600), an Italian theologian, philosopher, writer, mathematician, poet and Dominican friar.


He defended several theses considered apocryphal because it challenged dogmas of the Catholic Church. He also defended the idea that the universe, whose center would always depend on the observer, was infinite; that the stars were other suns surrounded by planets that could have life just like Earth.


 


Below are some extracts from the text About Infinity, the Universe and the Worlds written by Giordano Bruno:


 


 


Sixth - A rectilinear movement is not suitable for the earth or other principal bodies, nor can it be natural to them, but it is of the parts of these bodies which move to them from the various and different places of space, if they are not far removed. Page 16


 


Ninth - It is established that bodies and their parts do not have a determined position above or below, except as the discussion develops here or there. Page 16


 


Page 18 = As we consider more deeply the being and the substance of that in which we are immutable, we will be aware that death does not exist not only for us but also for any substance, while nothing diminishes substantially, but everything, sliding through infinite space, changes appearance.


 


Page 19 - God is not glorified in one, but in innumerable suns; not in a land, in a world, but in a million, I mean in infinities.


 


Page 22 - Senses are only meant to explain reason, to take cognizance, to indicate and to give partial witness, not to testify about everything, neither to judge nor to condemn. Because never, even perfect, are they free from any disturbance. Therefore the truth, in a small part, springs from that weak principle which are the senses, but does not reside in them.


 


Page 27 - I consider the universe "all infinite" because it has no limit, no term, no surface; I say not to be the universe "totally infinite" because every part of it can be finite, and each of the innumerable worlds it contains is finite.


 


Page 34 - Therefore, since there is no flesh that is not vulnerable, so it is not a body what does not resist ..... In this way we say that there is an infinite, that is, an ethereal immense region, in which there are innumerable and infinite bodies, like the earth, the sun, and the moon, which are called by us of worlds composed of fullness and void: for this spirit, this air, this ether, is not only around these bodies, but still penetrates them and are innate in all things.


 


Page 50 = There are, therefore, innumerable suns, there are infinite earths, which move around those suns, as we perceive these seven to revolve around this sun that is our neighbor.


  Page  50 = The reason is that we can see the suns which are the greatest, but rather great bodies, but we cannot perceive the earths, which, being much smaller bodies, are invisible; in the same way that you do not oppose reason to the existence of other earths, even if they move around this sun, and do not manifest to us, either because of the greater distance or because of the smaller volume; that because they do not have much water surface, or because they do not have such a surface facing us and opposite to the sun, by means of which, like a clear mirror that receives the solar rays, they become visible.   Page51 = But in any case, since the universe is infinite, it is necessary, after all, that there be more suns; for it is impossible for the warmth and light of a particular element to diffuse in the immensity, as Epicurus imagined, if it is true that the others count.   Page 52 - Around those can move earths much larger or smaller than our earth.   Page 53 - I affirm that the sun does not shine for the sun, the earth does not shine to the earth, no body shines in relation to itself, but each luminous body shines in the space around him. However, although the earth is a luminous body because of the rays of the sun that are incident on the crystalline surface, its light is not sensible to us, nor to those who are on this surface, but is perceived by those who are on the opposite side of the her.   Page 56 = From this we can conclude that innumerable stars are like other moons, so many terrestrial globes, and so many worlds similar to this, around which this earth seems to move, in the same way that they seem to move and rotate around this earth. Why, then, do we want to state that there is a difference between these bodies and those if we can see such fitness?


 


Page 62 = So that there is not one world, one earth, one sun; but the worlds are as many as the light bulbs we see around us, which are no longer in a sky, in a place and in a receptacle, than this our world where we live is in a receptacle, in a place in a sky.   Page 62 = …For it is impossible for a rational and a little attentive intelligence to imagine that they are deprived of similar or even better inhabitants or innumerable worlds, which manifest to us equal or better than ours; which are suns ....   Page 63 – From this diversity and opposition depend the organization, the symmetry, the complexion, the peace, the concord, the composition, the life.  


 


* Sobre o Infinito, O Universo e os Mundos – Giordano Bruno/Galileu Galilei/Tommaso Campanella – Editora Abril Cultural


 


TECHNIQUE: Oil + objects on wood


DIMENSiONS: 55 X 76 cm


YEAR: 2016


                                                                                                                                                     Walter Miranda - 2016

From Plato's Cave to the Dichotomy of a Deadlock - IV

This is the fourth version of works based on “Plato's Cave,” an excerpt from the text “The Republic” written by the Greek philosopher Plato (c428-c348 BC). The text describes the situation of some men trapped in a cave with their backs to the cave opening and unable to look back or sideways. Thus, their only conception of the world is represented by the sounds they hear and the shadows they see of people passing in front of the cave and projecting them onto the wall in the background.


The painting has the shape of a diamond and the central area shows the exact moment when one of the men get free and grasp the reality of the world. The other geometric parts of the painting show some images of the ancient and contemporary societies.

The Four Elemenst of Nature and the Four Seasons of the Year

Two paintings addressing symbolic elements of ancient Greek classical philosophy. They were designed using my image and of my wife, Flavia, in the same position of Leonardo da Vinci Vitruvian Man.


Simultaneously with the philosophical message, I have worked the elements in a playful manner exploring compositional concepts, shape and color. Thus, the elements become symbolic and some (leaves, seeds, flowers shells etc.) represent the naturalism and the computer parts represent the domain of technology in today's society.


The paintings were divided according to the golden ratio that naturally generates logarithmic spirals as geometric divisions are created.


 


Work 1 - The four elements.


Four golden rectangles surrounding the Vitruvian image and in its interior are geometric shapes that have been generated using the logarithmic spiral provided by the golden ratio, a mathematical relationship used since antiquity.


The earth element was correlated with the generation of life through allusions to seeds and the female sexual organ. The shape of the elements of fire, water and air have their lines alluding to the sinuosity of flames, waves and clouds.


Beside the golden rectangles are small rectangles filled with objects that represent the four elements.


 


Work 2 - The four seasons.


In this picture, spring is related to flowers, summer to the heat of the sun, autumn to the colors of the leaves that fall at that time and winter to ice crystals. The shapes inserted in the golden rectangles were also obtained by means of logarithmic spirals.

The four elements of Nature - I

As in other series of paintings, this work represents the relationship between Man and nature through the philosophical, scientific and technological understanding that he has of the four elements of nature (earth, fire, water and air).


In the area that represents the earth I approached mother nature and the human correlation between this element and its use through technology.


The fire area shows the evolution between the domain of this element and the domain of the atom.


In the area related to water, I included some shells on printed circuit boards representing part of our marine food also provided by technology. The moon was placed inside a drop of water to relate it to the strong influence it has on the oceans.


In the representative area of ​​the air I placed dancers valuing the celestial bodies, sun and moon and worshiping the mother Gaia, the planet Earth.


Above the four areas is the Earth's dome.


All elements of the frame are framed by printed circuit boards and RAM memory sticks, to reinforce the concept of unstructured technological development that caused the current ecological deadlock, as the exact sciences are more valued because it have provided material comfort, to the detriment of the human sciences, which seek sustainable development in harmony with the planet.


 


TECHNIQUE: OIL + WOODEN OBJECTS


DIMENSIONS: 20 X 80 CM


YEAR: 2014


 


                                                                                                                                                    Walter Miranda - 2014

Exaltação a Gaia XVIII - Primeiros Passos

Painting that is part of a recurring series over the years called Exaltation to Gaia.


Gaia is the Greek goddess who represents planet Earth and Mother Nature.


Generally, the paintings in this series exalt the beauty of life without major philosophical implications, so in all of her works in the series the planet Earth is the center of attention.


In this specific case, I address the journey of man from the dawn of civilization to the space conquest represented by the space shuttle and the journey of the space probes Pioneer 10 and 11, launched into space in 1972 and 1973 and the first man-made objects to leave the solar system.


Some of the images are reinterpretations of the information contained in a metal plate attached to the two probes that contain information about the location of the solar system, their starting point and the beings that created and sent them to space. The other images I believe are self-explanatory.


 


                                                                                                                                                     Walter Miranda - 2010


 


Technique: Oil + objetcts on wood (mdf)


Dimensions: 70 x 43 cm


Year: 2010

All Quiet on the New Millennium - II

The use of violence as an instrument of domination and excuse to achieve shady or dubious goals; the use of political, ideological and philosophical discourses in order to confuse people's reasoning and remain in power; manipulation of information in order to hide the truth, etc. Anyway, any kind of attitude that serves to justify the exploitation of the human being by the human being has always bothered me and the way I use to express my indignation against it is art. Recently, the destruction of the two WTC towers in New York caused the death of many innocents, shocking the western world that saw Dantesque scenes live. In my heart there was a dichotomy of feeling shocked by the cruel violence visually exposed in that act and at the same time revolted by the disguised violence of some rulers, a superpower and allied countries, which disrespect the most basic principles of civilized coexistence between peoples of different cultures. Unfortunately, these hypocrites have used the blood of the sacrificed as an excuse to continue to hold on to power and continue to exploit diverse peoples who live in strategic locations (economically and militarily), committing more atrocities and injustices against people as innocent as those who died in September of the last year.


The triptych All Quiet on the New Millennium - II is my protest against these attitudes that only increase the level of violence and injustice in the world, generating more dissatisfaction among the exploited populations and serving as a reason for more madness and desperate attitudes by radical minorities. The result of this type of manipulation is always the death of innocents on both sides.


These attitudes and their results are not new, but the leaders of several countries (on both sides of the conflicts) continue unscrupulously using the blood of the innocent to maintain their political positions, maintain their material comforts, increase their financial profits and justify their acts of violence against peoples and cultures that they do not understand. Not even the promise of a new world in this new millennium has been able to sensitize the world's leaders in relation to human respect and cultural differences. For this very reason, we remain at the mercy of the old risk of traditional, bacteriological wars or even of a nuclear catastrophe.


One part of the triptych features the stylized American flag from which missiles depart threatening Islamic culture, represented by the crescent moon with the star, and another part features two free-falling planes that threaten Western culture, represented by the torch of the statue of liberty. These two images are based on the arguments of the two cultures (Western and Islamic). These are two opposing views of the same problem, where the two parts call themselves liberators and call enemies of terrorists. It is interesting to note that the speeches of the leaders of both parts are so equal that, if we think about it, they have unmasked each other. They only continue to pretend to be good guys because they feel protected by the system they defend and because many of us continue to pretend that we don't see this macabre theater where innocent people continue to pay for sinners.


This work was painted on self-made cardboard with the images being hand painted or edited using computer graphics and the computer boards were sawn and ground. The triptych's composition is constructivist and follows the mathematical principles of the golden relationship, a mathematical relationship observed in various creations of nature and already found in the mathematical studies of ancient peoples. Through it, I determined the golden rectangles and located several points and focal areas where the symbolic elements that represent various situations directly related to the theme of the work were placed and that force the viewer to examine the metonymic relationships of the paintings, causing questions. In this sense, computer parts represent the mastery of technology in today's society, which has often served as an instrument of domination by the wealthiest peoples.


My goal with my social criticism through art is to provoke the viewer, using an artistic and subjective language. For me, the most important thing is the reflection that the viewer takes with him after observing my work. I do not dream of transforming the world with my questions, nor do I intend to show that art can eliminate violence in the world, but I like to provoke people to draw their own conclusions about the topic addressed.  


Who has eyes, let him see!


 


Technique: oil + digitized images + objects on self-made cardboard


Dimensions: 153 x 96 cm

Year: 2002-2003

                                                                                                                                             Walter Miranda – 2002/2003

Busch Doctrine - The Scarecrow of death  


 


In 2003, the United States invaded Iraq on the charge that it produced weapons of mass destruction and that it supported al-Qaeda, a terrorist group accused of attacking the two towers in New York and the Pentagon in Washington DC. At the time, CIA director George Tenet had previously informed President Bush that Iraq did not produce the weapons mentioned and had no connection to al-Qaeda, whose chief Bin Laden, was in Afghanistan.


 


 Still, Bush, aided by the United Kingdom, Australia and other nations, decided to invade Iraq.


After the invasion none of the charges were proven and the invasion created a destabilization of Iraq that culminated in the birth of the ISIS terrorist group.


The work called the Bush Doctrine - The Scarecrow of Death represents my opinion on American military actions in various parts of the world in the name of a policy that I consider to be wrong and malicious.


 


 The vertical part of the painting represents the image of “Uncle Sam” (symbol of the USA). In the head there are several images showing Bush calling for the invasion and playing to dominate the world, as well as military armaments, world demonstrations against the invasion etc.


The trunk and arms are formed by allusions to the American flag. The white and red strips act as a trail left by six B-2 Spirit stealth planes and two F-21 fighters that simultaneously threaten the world continents that are inside of two HDs with the inscription "We" in several opposing languages to the inscription “US”, which also means “We” in English and at the same time United States.


 


 The fifty stars of the USA flag are represented by spurs, in an allusion to Bush's Texan origin. The tails are represented by an eagle and the penis by a Tomahawk missile. The feet are represented by two Nighthawk F-117 stealth planes.


On the floor, a world map surrounded by bullets has several American flags planted on the continents representing the country's military presence in the world and the areas of the United States and the United Kingdom are filled with electronic circuit boards.


 


TECHNIQUE: OIL + OBJECTS ON WOOD 


DIMENSIONS 205 X 185 CM  (520 in X  470 in)


YEAR: 2003 


* Used objects: Sawed and polished computers boards, spurs, disassembled HDs, brooches, acrylic, ornamental objects, etc.


 


                                                                                                                                                  Walter Miranda - 2003


 


Bush Doctrine - The Scarecrow of Death by Flávia Miranda


Among many others interesting pieces of artistic works, The plastic artist Walter Miranda presents a panel with works of art that provoke deep reflections about the Bush’s current political world. In the panel, there are works criticizing the current North American politics (called doctrine Bush) and the terrorist actions. At the same time, the artist exposes works honoring New York City, victim of the attacks of September 11, 2001. The works join the traditional technique of the oil painting (in contemporary style) with the new technological medias (because part of the works was accomplished through graphic computation). A work stands out of the group: BUSH DOCTRINE - SCARECROW OF DEATH. It consists of a scarecrow with the same high and breadth wise of an adult man with the world map at his feet. The work is painted with synthetic enamel and oil painting, with the insertion of sawed computer plate, disassembled HDs, brooches, bullets, spurs, images worked with graphic computation, etc. It represents a critic to the political actions of the president Bush in the world. It is such a picture as an installation, because it extends from the wall to the ground, inducing the spectator to look it from several points of view and to interact with the art object. The different images and parts that compose the work are linked to each other but at the same time they are independent. They provoke a thoughtful glance of the details and a dynamic glance due the reasoning correlation between the parts and the whole. Certainly it is an impressive work that leads to intelligent reflection on the current world political map. It is an outstanding exhibition of strong visual impact and conceptual aims but with subtleness in the implied sense.


São Paulo, April, 2004. Flávia Venturoli Miranda

Exaltation to Gaia by Flávia Miranda


In 20 years of his artistic career, Walter Miranda, has always worked with philosophical and conceptual questions even social as global. In this new series called: SEATTLE PROJECT: GAIA EXALTATION, the artist uses as theme the planet Earth, by the free pictorial representation of the answer letter of the native Chief Seattle (1790/1866) to Franklin Pearce, the USA president, offer to buy the native land in exchange of a reservation at 1855. The text is a work of great beauty, poetry and philosophy, which predicts the situation of ecological degradation of the Earth, being a pertinent literature today.


Gaia, in Greek, Earth in English, was the first primordial divinity of the Greek theogony, after the chaos. From her everything begins, since her natural forces which are mythological represented by her children, until the creatures that live and depend on her, animals and plants. In this sense, the theme, Gaia Exaltation, becomes clear when we realize the presence of the planet image, in all works exhibited, at distintive conceptual circunstances.


Walter makes construtivists compositions by the Golden Section, which is a mathematical relation observed in many creations of the nature and present on the ancient mathematical studies. At the same time he eliminates the geometrical rigidity of the compositions creating an organic relation ship of the spaces through the logarithmic spiral. The conjunction of the compositive lines propitiates figurative forms which are integrated to the theme by the artist in a realistic or estylized way.


Using the traditional technique of oil painting, he takes textures and peculiar visual effects from  the overlaps of  sprinkled, wrinkled  paint layers and  abstract strokes whose are applied in the background  and in the  extrude figures, that were drawn in cardboard, cut and glued on the works during the compositional process


Through the incorporation of computers circuit boards (some  sawed and others ground by emery to get geometrical and  figurative forms like locomotives, trees, human, etc.), chips, batteries and  many elements of our technological nowadays, besides nature elements, like seeds, leaves, ground, ashes, etc., Walter, illustrates in a simbolic manner the current dichotomy of  nature  versus the inconsequent use of the technology provoquing reflections about the environment question, the performance of the Man in the planet  and the responsability on this ecologic llegacy, as we observe in the work where he incorporates a glass with pure  water (taken from the  Tietê river's beggining) and other with polluted water (taken from the same river but in Sao Paulo downtown).


Besides that, repeating  some images like the Earth, ballerinas, children, and  others, the artist creates a repertory that gives emphasis to a universe of meanings that has no intention to transmit decoded  messages to the spectator, since the utilization of these elements as details, or foreground, obligates the spectator to examine the metonymic relations of each element provoquing him questions, in order to reach his own conclusions about the theme. The outcome is the complicit or the denial, because both are the two sides of the same coin.


The artist, therefore, looks for linking the reason to the sense, the basis of his creative process. The outcome is a work with totally new style, although based on traditional techniques, seeks its overcome and transformation and, because of that, has deep roots on history, culture and artistic language (as observed a Brazilian poetry, Ferreira Gullar), where  the  style is identificable by the compositive conception, and the technique (variable) is only a mere instrument. As wrote Kandinsk: "The artist must have something to say, for mastery over form is not his goal but rather the adapting of form to its inner meaning."   


    


Flávia Venturoli – nov/98


Note: the letter is available at: https://www.fwmartes.com.br/imprensa/114/carta-do-chefe-seattle/eng



- See Series Exaltation to Gaia



 


 

FROM PLATO'S CAVE TO THE DICHOTOMY OF A DEADLOCK

 


Três quadros que representam a evolução humana no planeta. Eles foram criados baseados no trecho do texto A República escrita pelo filósofo grego Platão (c428-c348aC).  Nele, Platão descreve a situação de alguns homens presos em uma caverna de costas para a sua abertura e sem poder olhar para trás ou para os lados. Dessa forma, a única concepção que eles têm do mundo é representada pelos sons que ouvem e pelas sombras de pessoas que passam à frente da caverna e as projetam na parede ao fundo dela.


 


Quadro 1 – Representação do percurso humano desde a Pré-História até a Antiguidade. Na parte superior são representados momentos importantes tais como a observação do céu e das estrelas, o domínio do fogo, a criação de ideogramas, do alfabeto, a descoberta da matemática etc. Na parte inferior, dentro de uma parábola (curva matemática) está um dos homens que conseguiu se libertar e compreender que o mundo é feito de diversas realidades.


 


Quadro 2 - Representação do mesmo percurso desde o Renascimento até o Século XX. Na parte superior estão várias fórmulas matemáticas simples até variações da famosa fórmula de Einstein, além de imagens do planeta e uma placa de circuíto impresso que representa o domínio tecnológico. Na parte inferior estão vários objetos gerados pela tecnologia e dentro da parábola está uma bailarina que representa o equilíbrio inicial obtido com o domínio das ciências físicas.


 


Quadro 3 - Representação do momento atual em que a humanidade se encontra. Na parte superior está uma imagem representativa da fissão do átomo e outra variação da formula da relação entre a energia e a matéria. Ao lado está um cogumelo atômico associado ao domínio tecnológico da energia. Na parte inferior o homem encontra-se cabisbaixo e sendo ameaçado por uma bala dentro da parábola matemática, formada por várias balas.


 


Título: Caverna de Platão à Dicotomia de um Senão I, II e III.


Técnica: Laca acrílica + objetos sobre chapa de ferro perfurada


Dimensões: 61,8 X 100cm


Ano: 1991/2001


Three works that represent human evolution on the planet. They were created based on the excerpt from the text The Republic written by the Greek philosopher Plato (c428-c348aC). In it, Plato describes the situation of some men trapped in a cave with their backs to the opening and unable to look back or to the sides. In this way, their only conception of the world is represented by the sounds they hear and the shadows projected on the wall of the cave by people who pass outside of the cave.


 


Work 1 - Representation of the human path from Prehistory to Antiquity. In the upper part, important moments are represented, such as the observation of the sky and the stars, the dominion of fire, the creation of ideograms, the alphabet, the discovery of mathematics, etc. At the bottom, inside a parable (mathematical curve) is one of the men who managed to break free and understand that the world is made up of different realities.


 


Work 2 - Representation of the same route from the Renaissance to the 20th century. At the top are several simple mathematical formulas up to variations of the famous Einstein formula, in addition to images of the planet and a printed circuit board that represents the technological domain. At the bottom are several objects generated by technology and inside the parable is a ballerina that represents the initial balance obtained with the domain of the physical sciences.


 


Work 3 - Representation of the current moment in which humanity finds itself. At the top is a representative image of the fission of the atom and another variant of the formula for the relationship between energy and matter. Next to it is an atomic mushroom associated with the technological domain of energy. At the bottom, the man is crestfallen and threatened by a bullet inside the mathematical parable, formed by several bullets.


 


Title: Plato's Cave to the Dichotomy of a Snag I, II and III.


Technique: Acrylic lacquer + objects on perforated iron plate


Dimensions: 61.8 X 100cm


Year: 1991/2001

Our Every Day Window


A Série Janela Nossa de Cada Dia apresenta três pares de questões filosóficas: Tecnologia versus Natureza;  a Condição Humana versus a Compreensão da Infinitude e Ideologia versus Violência.


 


São três trabalhos pintados sobre madeira e que são articuláveis porque as folhas das janelas podem ser abertas ou fechadas.


 


Janela 1 – Contraposição do uso da tecnologia, representada pelo ônibus espacial, em detrimento da proteção à natureza, representada por uma floresta sendo penetrada por uma estrada.


 


Janela 2 – Contraposição da condição básica do ser humano, representada pela fome, e a infinitude do universo do qual somos apenas uma ínfima parte dos desígnios de Gaia, a mãe Terra.


 


Janela 3 – Contraposição da busca humana pela liberdade, representada pela mão da estátua da liberdade, e o uso da violência para atingir nossos objetivos, representado pelo cogumelo atômico



Técnica: Óleo sobre madeira


Dimensões: 100 X 60cm


Ano: 1987-2020


 


The Our Every Day Window series presents three pairs of philosophical questions: Technology versus Nature; the Human Condition versus Understanding Infinity and Ideology versus Violence.


 


There are three works painted on wood that are articulated because the window leaves can be opened or closed.


 


Window 1 - Counterposition of the use of technology, represented by the space shuttle, to the detriment of nature protection, represented by a forest being penetrated by a road.


 


Window 2 - Counterposition of the basic condition of the human being, represented by hunger, and the infinity of the universe of which we are only a tiny part of the designs of Gaia, the Mother Earth.


 


Window 3 - Counterposition of the human search for freedom, represented by the hand of the statue of liberty, and the use of violence to achieve our goals, represented by the atomic mushroom


 


Technique: Oil on wood


Dimensions: 100 X 60cm


Year: 1987-2020

Social Transpositions


Everything that human beings do has a social function. However, within Art, I believe that at the very moment of creation, the work must have a social concern. The function will be the consequence. Therefore, in the series of oils that I developed and presented in 1981, I decided to address the socioeconomic differences that are representative of Brazilian society.


 


The initial idea was to present a scenario that presented “both sides of the same coin”. However, it would be pointless to use conventional situations, as the idea would not achieve the intended impact. That way, after some studies, I came to Social Transpositions.


 


I used the child as the main element due to its non-misrepresentation of concepts, which expresses for me, a rest of hope in our society. In all works, both rich and poor children look healthy to exactly reinforce the impression of purity, despite the social and conceptual oppression imposed by us adults.


 


For this reason, the paintings are presented in pairs with children in identical positions, but in opposite social conditions, in order to show human equality in natural terms and social injustice in human terms.


 


Walter Miranda             April/1981


 

Walter Miranda
Ateliê Oficina FWM de Artes
All rights reserved.