Maestà

It is a contemporary treatment that, with tranquility wisdom, associates the minimalist logic of discrete elements with a deliberately mimetic morphology. And that, ignoring hierarchies, consents from a free rereading of the Maestá de Duccio, of the fourteenth century, rereading, so to speak, decompositional. Ronaldo Brito The artist proceeds, for example, to reinterpret Duccio’s Maestà, retrieves its primitive aesthetical emotion by leaving only the skeleton and then reconstruct it as an alabaster with gold foils relief. This translation of the morphological continuous into the discontinuous language of discreet elements is typical of her work, almost her registered mark; in truth, it is the principal reason for her works’ increasing mobility. The cascading Coins are the origin of these circles relating the Maestà’s biblical narrative according to an unorthodox minimalist grammar. What the Renaissance composition portended, in the beginnings of perspective, transforms into a casual sequence close to the famous minimalist maxim – one thing after another. Ronaldo Brito