Walter Miranda
Plastic Artist

Works of the artist

Listing 86 items – Theme

Political and Social Issues

Brave New Middle Age - The ennoblement of man - 2

2020

    – Philosophical Issues

    – Political and Social Issues

    – Brave New Middleage

Brave New Middle Age - Our garbage of everyday - 2

2020

    – Political and Social Issues

    – Brave New Middleage

Chile 33

2020

    – Political and Social Issues

    – Others

Coffin Factory

2020

    – Philosophical Issues

    – Political and Social Issues

    – Others

Maribruma

2020

    – Political and Social Issues

    – Others

Always Heroes

2020

    – Political and Social Issues

    – Others

Political Symmetry - China 04/Jun/1989

2020

    – Political and Social Issues

    – Symmetry

Vladmir Herzog Notebook

2005

    – Political and Social Issues

    – Objects

Bush Doctrine - Scarecrow Of Death

2002

    – Objects

    – Political and Social Issues

    – Bush Doctrine - Scarecrow of Death

    – Objects

Requiem To Two Twin Sisters I

2002

    – Political and Social Issues

    – Requiem to Two Twin Sisters

Requiem To Two Twin Sisters II

2002

    – Political and Social Issues

    – Requiem to Two Twin Sisters

Ecological Symmetry - Xapuri 12/23/1988

1991

    – Political and Social Issues

    – Symmetry

Political Symmetry - Tiananmen 06/04/1989

1991

    – Political and Social Issues

    – Symmetry

Title: Social Symmetry - Volta Redonda 11/1989

1991

    – Political and Social Issues

    – Symmetry

Our Daily Window I

1987

    – Political and Social Issues

    – Our Daly Window

Our Daily Window II

1987

    – Political and Social Issues

    – Our Daly Window

Our Daily Window III

1987

    – Political and Social Issues

    – Our Daly Window

Zé Jorge's mother

1985

    – Political and Social Issues

    – Others

:to Be And Not To Have

1985

    – Political and Social Issues

    – To Be And Not To Have, To Have And Not To Be, That Is Ethiopia!

That Is Ethiopia!

1985

    – Political and Social Issues

    – To Be And Not To Have, To Have And Not To Be, That Is Ethiopia!

To Have And Not To Be

1985

    – Political and Social Issues

    – To Be And Not To Have, To Have And Not To Be, That Is Ethiopia!

Manifesto Freee Direct Election Now!

1984

    – Political and Social Issues

    – Others

Symphonic Transposition - 1

1984

    – Political and Social Issues

    – Beethoven Project

Symphonic Transposition - 10

1984

    – Political and Social Issues

    – Beethoven Project

Symphonic Transposition - 11

1984

    – Political and Social Issues

    – Beethoven Project

Symphonic Transposition - 12

1984

    – Political and Social Issues

    – Beethoven Project

Symphonic Transposition - 2

1984

    – Political and Social Issues

    – Beethoven Project

More works 'Questões Políticas e Sociais'

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


 


 

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.

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

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


 

The Force the Power, the Reason and the Price of Freedom

These works approach the student manifestations in 1977 and the violent reaction of the policemen and military forces against the students. In the first work- The Argumentof the Force: policemen threaten the students with blackjacks demonstrating the argument of force. In the second work - The Convincing Power: policemen beat a student demonstrating a kind of convincing power. In the third work - The Reason Above All: two students aid a third one, with hematomas provoked by beatings, and one of them points at the wounded one and screams in the demonstration that the reason is above the violence. In the fourth work - The Price of Freedom: the smoke provoked by a tear gas bomb involves a military policeman that threatens the students. The students' escape is provoked by the military contingent that is behind the soldier. On one of the students a dove, symbol of the non violence, rests.    

Walter Miranda
Ateliê Oficina FWM de Artes
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