Jaime Prades

Text from the exhibition "Landscapes".

IRREVERENCE OR DEATH TO THE GOOD SAVAGE

Wagner Barja

The phenomenon of savage art rendered at this turn of century as graffiti, a nonconformist means of expression, has spawned various groups in urban centers throughout the world. In São Paulo, in the 1980s, the grafitto designers who formed the group Tupinãodá were among the most highly-spirited in Brazil.
Jaime Prades began his career as a graffiti artist and treaded an asphaltic trajectory while lending a sophisticated aesthetics to raw clandestine street art. Notwithstandins his rebellious nature, and always incorporanting the Good Savage spirit, our artist easily worked his way up to the realm of art galleries.
Currently, while seeking to confer tridimensionality on his drawing, Prades convey his vast cast of characters with other raw materials by cutting his most recent production out of steel sheets.
Such an attitude encloses an atavistic antagonism. That wich formerly bet on the ephemeral nature of graffito, always at risk an subject to obliteration, now adopts more lasting materials to support a vocabulary that previously rejected permanence.
However the same irreverence of grafitto remains unaltered in the artist’s output. In Jaime Prades, the same remarkable irony inherited from graffito will remain forever endemic and immutable.


	FÁBIO MAGALHÃES 2021 ANA AVELAR 2016 FABIO MAGALHÃES 2016 JAIME PRADES 2014 B JAIME PRADES 2014 A SAULO DI TARSO 2014 PAULA ALZUGARAY 2013 ANTONIO VENTURA 2013 PAULO KLEIN 2013 TEREZA DE ARRUDA 2012 CLAUDIO ROCHA 2012 PAULO KLEIN 2012 SERGIO LUCENA 2012 JAIME PRADES 2010 WAGNER BARJA 1998 MARIA IZABEL B. RIBEIRO 1997 JOSÉ ROBERTO AGUILAR 1996 REJANE CINTRÃO 1996 FABIO MALAVÓGLIA 1995 WAGNER BARJA 1994 MARIE ODILE BRIOT 1990 ANA MAE BARBOSA 1989 LEONOR AMARANTE 1987 MARIA CECÍLIA F. LOURENÇO 87		WAGNER BARJA 1998 Artist, curator and current director of the "Museu da República de Brasilia". Text from the exhibition "Landscapes". IRREVERENCE OR DEATH TO THE GOOD SAVAGE Wagner Barja The phenomenon of savage art rendered at this turn of century as graffiti, a nonconformist means of expression, has spawned various groups in urban centers throughout the world. In São Paulo, in the 1980s, the grafitto designers who formed the group Tupinãodá were among the most highly-spirited in Brazil. Jaime Prades began his career as a graffiti artist and treaded an asphaltic trajectory while lending a sophisticated aesthetics to raw clandestine street art. Notwithstandins his rebellious nature, and always incorporanting the Good Savage spirit, our artist easily worked his way up to the realm of art galleries. Currently, while seeking to confer tridimensionality on his drawing, Prades convey his vast cast of characters with other raw materials by cutting his most recent production out of steel sheets. Such an attitude encloses an atavistic antagonism. That wich formerly bet on the ephemeral nature of graffito, always at risk an subject to obliteration, now adopts more lasting materials to support a vocabulary that previously rejected permanence. However the same irreverence of grafitto remains unaltered in the artist’s output. In Jaime Prades, the same remarkable irony inherited from graffito will remain forever endemic and immutable.