Siron Franco
Argonauta, 1973 | Armadilha para Capturar Sonhos, 1998 | Datas - Série Curral, 1989 | Judas, 1975 | Pássaro, 1984 | Os Animais, 1984 | Bestiário, 1973 | O Visitante, 1975 | & more...
AS I WAS MOVING AHEAD OCCASIONALLY I SAW BRIEF GLIMPSES OF BEAUTY is a very simple newsletter where I share a collection of creative expressions I enjoyed coming across.
In the case of Siron Franco’s painting, what does this first perception reveal? It shows us a fusion of human and animal. Before any conceptualization, this is what I see: human figures intertwined with tapirs, anteaters, and moles. […] Yet there is another dimension to the relationship between humans and animals in Siron’s work: its regional, geographic ties—art rooted in central Brazil, closer to dense forests, to a Brazil still linked to its immemorial origins, to its water sources, to its natural sounds. Closer to the man who remains near the beasts and those deep mysteries, closer to the primal culture of this country. It is the side of Siron’s work that is a memory of Brazil, an echo of the most archaic voices in our history—history that comes from afar yet is made anew every day.
Ferreira Gullar
Siron Franco brings to the surface […] the ghosts and terrors that dwell within each of us.
Alfredo Aquino
Wonderful, I feel like I discovered new Francis Bacon's paintings I had no idea about