The artist Claudio Mubarac shows a set of 30 recent works in the "Anatomies of April" show 'til april 28th at the FACE Gabinete de Arte, Pinheiros, in São Paulo [Brazil].

Among the works presented, there are 9 canvases, prints and watercolor drawings, in which Mubarac approaches elements that are expensive to his poetics, such as the anatomy of the body, always treated in a fragmented way. This fragmentation goes along with the experimental and hybrid processes that the artist uses in his engraving practices, using various instruments and superimposed techniques to draw and break the surface of the metal and, consequently, of the paper. Incidentally, the support of engraving, that is, paper, has also been an inherent part of Mubarac's artistic research: voracious collector of papers of the most different fibers, textures and shades, new and old, he creates unique works, in which the same element recorded in a matrix can emerge combined with so many others in different roles and compositions.

"The object, the engraving, the figure, is for me more a place than a representation scheme," says Mubarac.

The title of the exhibition is suggestive of some aspects of its production of the last year. The etymology of the word "april" goes back to two meanings: aprillis, open / germinate, and aprus, the Etruscan name of the goddess of love and beauty, Venus.

In watercolor drawings and engravings, the abstract organic colors and shapes allude to an eroticized body. Although without a clear reference or quotation, they stem from Mubarac's long admiration for the Japanese print and the erotic drawings of the French sculptor Auguste Rodin. The color emerges with a new presence in its works and is opposed to the drawing to the dry point, reacting and spilling on the surface of the paper.