Contemporary ar tis characterized by excessive use of media, techniques and traditional languages, promoting a reunion which highlights the appeal of historical processes and specifically the paths already traversed. Turning into a field of experimentation, contemporary art always establishes relationships among media, techniques and languages so as not to give emphasis to anyone of them in particular. By this mean, it is consolidated the idea that art does not come off an empiric, abstract or personal view.


Throughout the production of Andrey Zignnatto, the variety of styles and materials accompanying the return of several artistic movements such as surrealism, futurism and conceptual art. As part of the historical process about visual arts evolucion the artist summarizes these currents while proposing new developments.


In Zignnatto’s production art is not fake, it is creation. This creation is the result of ongoing processes and systematic observation, experimentation and reflection, as well as the implementation conscious and particular. Currently Zignnatto, born in Jundiaí [SP], is dedicated to the rescue and the spread of local production. The completion of these activities is supported by the experience already accumulated and consolidates the artit’s production, promoting mutual enrichment and a constant discussion and generating agreementing and disagreemeting, stress and strains.


There are in Zignnatto’s works a transmutation of organic in sensorial. A kind of mathematical spirituality and a remarkable sensitivity of discontinuous disclose in the artist’s work asymmetry that takes us to several moments in the history or art.


If the sensorial shows a material knowledge  of the reality the organic is presented in an upward movement of realities and calligraphic repeated, only tested. A recurrent concern about the research and recurrence of bounderies, contours and historical references benefit the works with a enriching and individualized poetics.

Once established the work and the elements that constitute it, estimates as poetics the motivations of the artist, the processes involved in their execution and outcome, understood as virtual or real, permanent  or ephemeral without a subjective representation, especially, don’t comply with objective parameters linked to accuracy representative.


The work “Urban Landscape”, one of the first produced by the artist, begins a new phase in the artist’s production. The mixture of pictorial elements lives side by side with the ownership and selection of symbolic ancestors objects in a historical practice that in the contemporary art gets weight and prominence. In the same way, concepts and systems of representation from other areas of knowledge are inserted, whose lines of research or reflection include space as a reference.


The work divided into 45 rectangular shapes or square, shows a question that synthesizes techniques originating or derived from the painting, such as design, architecture and photography. No wonder that in the whole series of works produced by the artist after the “Urban Landscape”, these elements appear outstanding.


Once represented and presented, these images can sometimes function as signs, signals not like delusional objects. Each one of the 45 giants pixels from “Urban Landscape” unfolds in history of art track, where graphics lead representation of experiences provided by copyright polarization of Zignnatto.


Colors and fragments of buildings angles, indoor public or the intimacy of the artist establish a follow-on work, as well at the later production of the artist. Angles architectural photographed from daily visual repetition metamorphasize projecting the original section on “Empirical Relativity I and II” of the Vertigo series.


The artist consolidates his production in photographs and sculptures. Design objects also integrated their range of action and subjective representation, providing the execution of an visual exercise and conceptual experience of applied knowledges.


Each work and each idea developed come about processes that evolve symmetrically, setting the individual results in all the artistic production of Zignnatto. For example, the projects of sculptures, show spatial and material relationships typical of contemporary reality. Acrylic, wood and/or metal show figurative elements that in the following moment arte diluted in hybrids, and fragments of the exhibition space, incorporating the latter in the production of own work.


There is a conceptual puzzle in the work “Urban Landscape”, which the parts can be moved in any direction, one replacing the other and providing an aura of transcience and unfinished work. There is also a concern about light and color, that cast absolute clearness in the definition of the parties. The spatial arrangement strengthens the content and reaffirms the fluidity  of concepts and theories applied by the artist in the construction of his works.


On the whole, is checked into a consolidation in the chromatic and semantic spectrum of in Zignnatto’s production. His art [the root word comes from the latin “ars” and refers to the necessary measures for the proper construction of an object] is the visible result of skill, work and perseverance.


Andrès Inocente Martins Hernández [august | 2009]

Curator and critic of art