In this issue of the Artist Spotlight, I’ll cover the popular Brazilian modern artist Beatriz Milhazes. Milhazes typically paints collages, which can be best described as ensembles of unique forms, symbols, and ideas organized to represent an overarching concept or feeling. Admittedly, collages can be a very intimidating medium. It is not uncommon to be overwhelmed when presented with them, as they are typically a simple selection of shapes which are slapped onto a canvas in some impatiently rendered attempt at “art.” As you can probably tell, modern art is not my favorite genre. However, Milhazes takes a unique approach to collage rendering which I find inspirational.
Milhazes was born in Rio de Janeiro, a Brazilian city that boasts a prominent classical and contemporary art scene. Rio de Janeiro is also well known for its incredible street art culture, empowered by the legalization of graffiti in 2009. In her work, Milhazes typically juxtaposes Brazilian cultural themes and the western modernist movement. Modernism is an artistic movement which disregards traditional artistic values, all while encouraging abstraction, experimentation, and artistic evolution. Unfortunately, the cliché nature of today’s modern art typically detracts from its revolutionary ideology. Think of the sheer amount of Andy Warhol clones that exist with the sole intention of selling to the masses. Thankfully, Milhazes takes an enjoyable and innovative approach to modern art which doesn’t simply seek to appeal to the average consumer. Although her work retains the presence of the recognizable vibrant colors and odd shapes associated with modern art, the Brazilian cultural influence in her works generates a refreshing flavor. When analyzing her work, I was able to identify certain cultural imagery, such as Brazilian food wrappers and symbols derived from Mardi Gras costumes. This imagery shines through and dulls out the simplistic nature of conventional modern art symbolism.
One of my favorite pieces by Milhazes is Modinha, which is a Portuguese term that roughly translates to “fashion.” Unlike in Milhazes’s The Kiss or Aubergine III (Green)— pieces which incorporate food wrappers to create decorative backgrounds — Modinha feels a lot less crowded with its plain off-white background. An ensemble of circles occupy most of the painting, abstractly overlapping one another. Growing out of the circles are clusters of flowers, an element which can best be attributed to the greenhouse near Milhazes’s studio in Rio de Janeiro. Most of the flowers are painted in a dark brown or blue, contrasting well with the brightness of the circles. In addition to the floral elements, smaller clusters are formed out of miniature circles. This seems to be an ode to the elaborate Brazilian carnival clothing worn by festival dancers, which is typically adorned with beads.
Although understanding Milhazes’s collage was a challenge, I think that a valuable lesson can be learned from my experience analyzing this piece. Reviewing artworks featured on Artist Spotlight has always been difficult for me because I meticulously research every detail of a piece. When I first saw Milhazes’s Modinha, my first thought wasn’t, “Oh this means this […] and that means that….” My first thought was, “Oh this is cool and unique, end of story.” Yes, an artist’s message is important, but especially when it’s hard to understand, don’t let that detract from your experience as an observer. Art is meant for an audience, and it won’t generate the same feeling for everyone. Your feelings and emotions towards an artwork are important too! Embracing them will help you create your own unique observation.
