Entering the work of Estêvão Parreiras is consent to an invitation to jump into the abyss. His line, as exact as it is dizzying, conveys the ambiguity of the flow of the game of life. His relationship with drawing is structuring and his work focuses - in a multiple, plural, nomadic and delirious way - on observing the different rhythms that vibrate and echo in everything.

The compilation of his work in this book aesthetically maps the places from which the subject can come and is a presentation of the body through writing. For Estevão, drawing is a way of writing. In the body, in the writing and in the intertwining of both there are deviations, dives, dangers, concerns: fragments and minutiae of a gesture that is in constant displacement, sheltering the tremor of things and capturing the absurd, the sacred and the imponderable of existence.

Estêvão Parreiras chases courageously the disembedding of objects and supports this kind of non-equivalence by looking at everything with the infinite capacity for astonishment, astonishment or amazement, like the flowers on the table in Georges’s exhibition Braque, observed by Alberto Giacometti: “A basket of fruit in the kitchen is enough to cause a certain distress in anyone who observes it closely.” All objects, which follow their form, can be presented as this locus that guards the body and offers strangeness to others. Text by Bianca Dias Coutinho

Text in English and Portugese.