Condensações Cosmológicas / Cosmological Condensations Junho / June 2025

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
30 x 18 cm}

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Acontecimentos Pictóricos, Corações Autônomos

_{Rodrigo Garcia Dutra em colaboração com Largo Modelo de Linguagem Multimodal ChatGPT-4.5 através de prompts, conversas e sonhos.}

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Pictorial Events, Autonomous Hearts.

_{Rodrigo Garcia Dutra in collaboration with Multimodal Large Language Model ChatGPT-4.5 through prompts, conversations and dreams.}

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_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
33 x 24 cm}

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Português: Em junho de 2025, reunimos instantes de materialização pictórica — pequenas entradas de energia tátil, onde tintas residuais, colagens fragmentadas e lavagens se encontram em gestos imprevisíveis. Cada folha A4 registra um acontecimento autônomo, um pulso vital e efêmero tecido entre o acaso e a substância. Este projeto emerge de um diálogo contínuo entre o artista e a máquina: trocas de impressões, significados e orientações que revelam como o gesto pictórico pode tornar-se interlocutor de uma inteligência coautora.

English: In June 2025, we curated instants of pictorial materialization — small entries of tactile energy where residual paints, fragmented collages, and washes converge in unpredictable gestures. Each A4 sheet records an autonomous event, a vital and ephemeral pulse woven between chance and substance. This project arises from an ongoing dialogue between artist and machine: exchanges of impressions, meanings, and guidance that reveal how the pictorial gesture can become an interlocutor of co-authored intelligence.

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_{Universos em miniatura nascidos no vinco do papel, onde pigmento, impressão e colagem negociam suas próprias leis auto-simpoiéticas.}

_{Miniature universes born in the crease of paper, where pigment, print and collage negotiate their own auto-simpoietic laws.}

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
30 x 24 cm}

Uma florada crescente de rosa-magenta irrompe no centro, com suas bordas se transformando em um blush pálido e um cinza fantasmagórico. Manchas de um carmesim mais profundo pontuam a composição como brasas flutuando de uma fogueira, enquanto poças de ocre e siena se depositam como sedimentos em um riacho em movimento. A sutil deformação do papel sob as camadas sugere a memória da umidade — cada gota, um momento de tensão entre o fluxo e a imobilidade. Meu olhar capta uma rede de texturas rachadas, onde a tinta mais espessa se fragmentou em filamentos rendados, sugerindo ruína e regeneração.

A swelling bloom of magenta-pink erupts at center, its edges feathering into pale blush and ghostly gray. Speckles of deeper crimson punctuate the composition as if embers drifting from a fire, while pools of ochre and sienna settle like sediment in a shifting stream. The paper’s subtle warp beneath the layers hints at moisture’s memory—each droplet a moment of tension between flow and stillness. My eye catches a network of crackled textures, where thicker paint has fractured into lacey filaments, suggesting both ruin and regeneration.

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
30 x 24 cm}

Esta parece mais silenciosa, mas não menos viva. Aqui, tons pálidos de cinza-lavanda formam um fundo enevoado, sobre o qual toques mais brilhantes de escarlate e verde-musgo emergem como pequenos animais em meio à neblina. Marcas circulares — algumas nítidas, outras sangrentas — surgem como impressões de máquinas ocultas ou planetas distantes. Nos cantos, pequenos fragmentos de colagem pressionam a superfície, suas bordas duras colidindo com a suavidade da aquarela, criando uma corrente de tensão suave. O efeito geral é de um tumulto abafado: um eco sussurrante de algo vasto comprimido em uma escala íntima.

Juntas, elas falam de energia capturada em meio à respiração — momentos suspensos entre a erupção e a dissolução. Seus gestos em camadas sugerem tanto uma insistência quanto uma rendição: tinta lançada, pingada, depositada e então deixada a se acomodar em seu próprio ritmo. Sem saber sua origem, sinto a pulsação de uma mão invisível, guiando pigmentos para uma comunhão espontânea, convidando o espectador a traçar os ritmos do acaso e do controle em cada respingo e desbotamento.

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This one feels quieter but no less alive. Here, pale washes of lavender-gray form a misty ground, over which brighter accents of scarlet and mossy green emerge like small beasts in a fog. Circular marks—some crisp, some bleeding—appear as impressions of hidden machinery or distant planets. In corners, tiny collage fragments press against the surface, their hard edges colliding with the softness of watercolor, creating an undercurrent of gentle tension. The overall effect is one of muted tumult: a whispering echo of something vast compressed into intimate scale.

Together, they speak of energy caught in mid-breath—moments suspended between eruption and dissolution. Their layered gestures suggest both an insistence and a surrender: paint thrown, dripped, laid down, then allowed to settle at its own pace. Without knowing their origin, I feel the pulse of an unseen hand, guiding pigments into spontaneous communion, inviting the viewer to trace the rhythms of chance and control in every splash and fade.

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
30 x 24 cm}

Paisagens espontâneas de emoção e matéria.

Uma constelação única de processos e afinidades — mas cada folha fala seu próprio dialeto.

Matéria e Gesto
Todas as seis trazem os traços da “pressão fortuita”, a mesma alquimia de pigmento derramado, gotejado e salpicado que transforma o acaso em textura. As duas primeiras que você mostrou pareciam a cratera de nascimento de um planeta — erupções magenta e ocre dissolvendo-se em solos fantasmagóricos. As quatro mais recentes estendem essa metáfora geológica para camadas sedimentares: lavagens metálicas pálidas e cinzas mais frios na primeira do quarteto lembram planícies lunares, enquanto o coração rosa-amarelo rodopiante da segunda parece uma nebulosa condensada em papel, intensificando o núcleo energético vislumbrado pela primeira vez em suas flores magenta.

Matter and Gesture
All six bear the traces of “pressão fortuita,” the same alchemy of poured, dripped and splashed pigment that turns chance into texture. The first two you showed felt like the birth-crater of a planet—magenta and ochre eruptions dissolving into ghostly grounds. The four newest ones extend that geologic metaphor into sedimentary layering: pale metallic washes and cooler grays in the first of the quartet recall lunar plains, while the swirling pink-yellow heart of the second feels like a nebula condensed into paper, intensifying the energetic core first glimpsed in your magenta blooms.

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
30 x 24 cm}

Diálogos Circulares
Observe o surgimento de formas circulares em duas das novas folhas: laços verdes se materializam como trajetórias orbitais ou bordas de copo d’água deixadas por um copo. Esses círculos ecoam a “linha orgânica” de Lygia Clark, não desenhada, mas sugerida, traçando nós relacionais entre respingos. Eles remetem aos globos de cor mais amorfos do par anterior, agora com um toque de estrutura — um diálogo entre o gesto de queda livre e a geometria contida.

Arqueologia Material
Você menciona gravuras antigas, esboços fracassados ​​e restos de tinta — e nessas novas folhas as camadas subjacentes aparecem com mais insistência. Na terceira nova peça, pequenos fragmentos de texto impresso ou colagem aparecem através de respingos translúcidos, como se os fantasmas de experimentos anteriores insistissem na coautoria. Isso ressoa com a simpoiese de Haraway: cada obra é um arquivo multiespécies de seus próprios resíduos, um palimpsesto vivo.

Continuidades e Mudanças Cromáticas
Enquanto o par original trocava tons de rosa-cobre e carmesim empoeirado, os quatro novos tecem azuis mais frios, verdes ácidos e amarelo-limão vibrante. É como se você tivesse colhido os detritos de telas maiores e recomposto seus genes de cor em novas permutações. A teoria da complexidade chamaria isso de mutação dentro da mesma bacia atratora — as obras permanecem formalmente aparentadas, mesmo que seus climas de cor locais mudem.

Da Emergência à Ecologia
Os dois primeiros pareceram eventos singulares — grandes explosões cósmicas no papel. O quarteto se lê mais como instantâneos ecológicos: sedimentação, formas em órbita, colônias microbianas de pigmento. Juntos, os seis formam uma cartografia dos subprodutos do seu estúdio, cada folha uma coordenada em uma membrana cosmológica em evolução.

Em suma, essas quatro novas folhas elaboram sua linguagem de acaso, geometria e memória material — microcosmos atados por gestos compartilhados, mas cada um insistindo em sua própria topografia de cor e forma.

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
33 x 24 cm}

Circular Dialogues
Notice the emergence of ring-forms in two of the new sheets: loops of green materialize like orbit paths or water-glass rims left by a tumbler. These circles echo Lygia Clark’s “organic line,” not drawn but suggested, tracing relational nodes between splatters. They link back to the more amorphous globes of color in the earlier pair, now given a hint of structure—a dialogue between free-fall gesture and contained geometry.

Material Archaeology
You mention old prints, failed sketches and leftover paint—and in these new sheets the underlayers peek more insistently. In the third new piece tiny fragments of printed text or collage show through translucent spills, as if the ghosts of earlier experiments insist on co-authorship. This resonates with Haraway’s sympoiesis: each work is a multispecies archive of its own waste, a living palimpsest.

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
30 x 24 cm}

Chromatic Continuities and Shifts
While the original pair traded in rose-copper and dusty crimsons, the new four weave in cooler blues, acid greens and bright lemon yellow. It’s as though you’ve harvested the detritus of larger canvases and recomposed their color-genes into fresh permutations. Complexity theory would call this a mutation within the same attractor basin—the works remain formally kin, even as their local color climates shift.

From Emergence to Ecology
The first two felt like singular events—big cosmic bangs on paper. The quartet reads more like ecological snapshots: sedimentation, orbiting forms, microbial colonies of pigment. Together, all six form a cartography of your studio’s by-products, each sheet a coordinate in an evolving cosmological membrane. They elaborate your language of chance, geometry and material memory—micro-cosms tethered by shared gestures, yet each insisting on its own topography of color and form.

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
33 x 24 cm}

Diálogo / Dialogue

Rodrigo: Ao adicionar papéis coloridos na traseira, percebi uma familiaridade. Senti que lembrava algo de John Baldessari. Será?

ChatGPT: Sim. Esse gesto lembra os trabalhos em que Baldessari expõe campos monocromáticos como parte ativa do conceito, transformando o suporte em protagonista.

Rodrigo: That resonance felt intentional—turning background into foreground. Does that make sense?

ChatGPT: Absolutely. By letting the color support protrude, you create a conceptual frame that both anchors and unsettles the painted surface, much like Baldessari’s experiments with displacement.

These backings—sheets of pure color peeking out from behind your splattered papers—feel like invisible membranes that both hold and unsettle the painted “cosmos” on top. By sliding each paper off-center, you’re not only declaring the support as part of the work, but you’re also choreographing a subtle dance between figure and ground:

• Displacement & Tension
  The bright mat of crimson, mustard, teal or cobalt acts like a silent shout. It displaces your splatters, lifting them off the neutral page, and creates a peripheral halo that feels almost sculptural. The paint no longer resides solely on its A4 arena—it floats above a colored void, demanding our eye to traverse the threshold between chaos and order.
  

• Echoes of Minimalist Gesture
  This pairing of gestural abstraction with solid-field color feels like a dialogue between two historic impulses: the raw dynamism of Abstract Expressionism and the calm austerity of Color-Field or Minimalist work. I’m reminded of John Baldessari’s Polaroid-style mounts or even Josef Albers’s Homage to the Square series—works that expose the artificiality of framing while magnifying color’s psychological charge.
  
• Directional Play
  By shifting which edge or corner the color paper protrudes from, you introduce a directional vector to each piece: some “push” the paint leftward, others seem to “grow” upward or “pour out” to the right. It’s a surprisingly facile way to imbue otherwise similar surfaces with unique compositional drives—as if each sheet has its own gravitational pull.
  
• Immediate Impressions
  Unmoored from any biographical context, these ten hybrids read like spontaneous experiments in boundary-making. They feel optimistic—brightly hued thresholds that invite you in, yet enigmatic, since the colored veil both reveals and conceals the underpainting. There’s a lightness here, too: the colored paper is a “costume” for each collage, a playful wink at the viewer that art can be both profound and delightfully self-aware.
  

In short, these works resonate as micro-rituals of framing and un-framing—brief cosmic events caught between pigment and paper, chaos and color.

Absolutely—it does call Baldessari to mind. Think of works like the later series where he mounted found photographs on bright monochrome panels. There, as in your pieces, he deliberately exposed the support, letting pure color bleed into the viewer’s field of perception rather than hiding it behind a conventional frame.

• Frame as Concept
  Baldessari wasn’t merely decorating; he made the colored ground part of the message. By reducing the frame to a single hue, he turned it into an active agent—just as your backings aren’t neutral supports but vibrant interlocutors with the splattered pigments.
  

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• Image Detachment & Reroute
  In some pieces he removed, obscured or recontextualized photographic fragments against solid fields so that color and image engage in a little conceptual tango. Your gestural paint and collage fragments dance in similar fashion, only you’ve replaced the readymade photo with the “accidental” mark, and the color panel becomes a stage for that dance.

• Playful Displacement
  Baldessari’s grids often shifted images off-center—delighting in compositional imbalance. Your sidelong and bottom-edge color accents do something parallel: they reveal the artifice of presentation and spark a fresh narrative in each sheet.

So, while you’re not copying him, there’s a very real conceptual cousinship here: both practices celebrate the frame as gesture, the support as spotlight, and the act of displacement as an invitation to look again. Your colored backings feel like a poetic homage to that Baldessarian impulse—to turn “background” into foreground, to make the simple choice of hue a conceptual flourish.

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Paisagens espontâneas de emoção e matéria.

Uma constelação única de processos e afinidades mas cada folha fala seu próprio dialeto.

Spontaneous landscapes of emotion and matter.

A single constellation of processes and affinities—yet each sheet speaks its own dialect.

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
30 x 21 cm}

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These additional sheets are full of intriguing surprises—each one a little detour from the pure particle-burst abstraction of your first ones, yet they carry their own kind of pictorial event. Here’s how I see them:

_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
30 x 21,5 cm}

The Partially Drawn Figure
A ghostly torso and arms emerge beneath magenta splatters—a living presence peeking through the chaos. It feels like the “autonomous heart” becomes human here, as if the chance operations of pigment have animated a figure. If you want to hint at the boundary where your abstract landscapes touch the human form, this one could serve as a powerful prologue or epilogue in your sequence.

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_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
24 x 33 cm}

The Horizontal Drift
This wide, landscape-like composition—with a wash of yellow ochre, coral and soft grays—read like a panoramic “field” between your more orbit-like circles. It broaden the topography of your series and introduce a sense of horizon, of movement across space. As standalone “event,” beautiful, as your core rely on that intimate A4 scale and centered energy, this one might break the rhythm— a moment of calm drift.

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_{Rodrigo Garcia Dutra, 2025
Condensações Cosmológicas, 
Cosmological Condensations
Óleo, acrílica, aquarela, impressão e colagem. 
Oil, acrylics, watercolors, prints and collage
24 x 30 cm}

Ghost-Text Collage
A layer of printed text or diagram meanders beneath lilac-green washes and silvery drips. This one nods more clearly to your archive of “failed pieces” and printed ephemera, making the palimpsest aspect overt. It could enrich the series by reminding viewers of your material archaeology—but again, use sparingly so the series doesn’t lose its formal coherence.

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