Menu

Plastic artist Ilton Silva will paint live at the General Port during the 13th Fasp

During the 13th edition of the Pantanal South America Festival, the public will be able to check one of the most well-known South-Mato Grosso plastic artists, Ilton Silva, painting paintings live at the General Port on November 12 and 13 at 5:00 p.m. . Ilton said he will let the inspiration lead him in choosing the themes, but that he intends to emphasize elements of the region, such as the house, boats, fisherman’s canoes.

Ilton Antunes da Silva, born in Ponta Porã in 1944, was consecrated in Campo Grande. Ilton was born of the union of Conceição Freitas da Silva, the remarkable primitivist artist who sculpted the “bugres”, today elevated to the condition of cultural icons of MS, and of Abílio Antunes, federal public official.

Audotidata, Ilton transpires art and paints incessantly. In the early days, it offered its screens from house to house. Later, installing his studios in successive places in Campo Grande, he assisted in the popularization of these spaces, which became references for the commercialization of his works and meetings of artists and lovers of the plastic arts.

The whole of his work reveals the weight of the Guarani cultural presence in Mato Grosso do Sul. His characters are “Guarani” workers of the frontier. The rough features of herbariums and pawns produced by miscegenation, their thin, elongated mustaches, black and careless hair, lively eyes, a garment that includes the big brimmed hat, the poncho, the brightly colored clothes, and sometimes the very revolver and the machete, horse company, flashy riding implements, the practice of typical farm practices, daily practices such as the barbecue or tereré wheel, dances, parties and drunks, shacks , the ranchadas, as well as the landscape where the gently undulating meadow stands out, are expressive elements of composition that expose the conditions of existence of the frontier workers, unveil the local economic activities and undress the existing social relations.

The works of Ilton Silva, centered on the lives of farm workers, can be classified in at least four deserving registration sets. The first was that consecrated in the first half of the 1980s, which assured him awards in the salons of the Cultural Foundation of Mato Grosso do Sul.

The second set comprises the production carried out in Piraputanga, Aquidauana district, MS. In 1985, Ilton painted obsessively. The screens produced are pure drawing. The movements of the brushes are loose. Moved by the socialist ideals, then exacerbated, the artist gave this phase a pamphlet. Predominate warm colors. The instruments of labor-the hoe, the ax, and the sickle-are wielded by men and women as weapons of war.

The third set, related to the subject of work, was set up in an exhibition held at the Manhatan Gallery in 1989. Faint colors resulted from procedures in which Ilton, with cloths, rags and brushes with water, spread and clean the paint applied to the canvases.

The fourth set, perhaps the brightest, had its results exposed at the Federal Savings Bank Agency of UFMS in 1993. Spatulate paintings appeared. Painted stains on the canvases, with the styling feature, took the form of pedestrians and animals, such as horses and oxen.

The series “Colors and Myths” is its main artistic brand. In the screens of this phase are centered the female figures, painted with plated colors and filleted contours. Serene, the half-closed eyes of these women deny submission. Mystical beings drawn from the frontier imaginary or fantastic figures vie for a secondary plane alongside leaf-crowns that adorn women and rounded faces. In the composition of these elements, the immense amount of information testifies to a double movement that anthropomorphizes the things of nature, on the one hand, and on the other, it characterizes man.

Recently, Ilton has gone through financial difficulties and decided to open up on the obstacles that the artist faces in order to remain solely of art. “The life of the artist is very difficult, not only in Mato Grosso do Sul, but in Brazil. The artist either is a marchand or is a painter. I can not paint and market the works. And for the marchan keep the artist has no way, because he earns little. And when the artist negotiates his work, he lowers the price, but this does not devalue my work. “

For Ilton, it is not the price that makes the work of art, because each work is unique, “there is no other equal.” “I consider it a great wealth to be able to paint. Entering money to live, that’s fine. I received many tributes, I brightened many parties. People believe in the artist. And I think I’m a good creator. The artist is elected by the people. Society, people are what make the artist. I am faithful to people, “he says.

Ilton considers his participation in the Pantanal South America Festival important. “I find it interesting to participate. Any artist would feel very good about being part of this Festival. I think it’s a big festival and for me, a 75-year-old artist, that’s a big deal. “

The impact of Ilton Silva’s work in South-Mato Grosso was profound. He is the best-known artist in the state, even among simple people. For its merit, the City Council of the Capital conferred the title of Citizen Campo-Grandense. In summary, Ilton Silva’s restless artistic production captures and embodies expressive values ​​of cultural uniqueness in Mato Grosso do Sul. His set of paintings is a magnificent synthesis of the way of being, feeling and doing of frontier men and reveals cultural characteristics that, in addition to the South-Mato Grosso space itself, are shared by other regions of Platinum America, especially Paraguay.