Menez
March 10th to October 2nd 2022
Curator: Catarina Alfaro
Menez's journey through life (Lisbon, 1926-1995), her
affirmation as a painter, and the recognition she achieved as an
artist in Portugal were all a little unusual. Having left Portugal
at the age of 2 because of family circumstances, she lived in
several parts of the world and most of her schooling occurred in
Switzerland. She returned to Portugal at the age of 20 to leave
again to spend two years in the USA, specifically in Washington,
D.C. Menez only began to paint regularly when she was 26, despite
the fact that she started at the age of 13, even if without any
academic training. However, the fact she was self-taught did not
prove to be an obstacle in her pursuit of an artistic career
lasting more than 40 years - not exclusively dedicated to painting,
but also including drawing, engraving, ceramics, glazed tiles and
tapestry - and consolidated by regular solo and group exhibitions
as well as reviews of her work by the most esteemed figures of
literature and the visual arts. The favourable reception of her
work is confirmed by the presence of her pieces in Portugal's great
institutional collections (such as those of Millennium BCP and
Caixa Geral de Depósitos) as well as private collections.
The originality and difficulty of placing her work within a
stylistic framework is due mainly to her understanding of painting
as a process of personal affirmation, capable of transmitting her
own vision of the world.
In 1954 she exhibited for the first time in the Galeria de
Março, namely a collection of gouaches. These works reveal a
mastery of this technique and integrate formal and compositional
elements that favour luminous values as determining coordinators in
the construction of space - executed from the stance of a
performance between concealment and exposure, between interior and
exterior, between abstraction and figuration - elements which would
persist in her work and define it. At the end of the 1960s - after
time spent in London (1964-65 and 1969) as a Calouste Gulbenkian
Foundation scholarship holder - her pieces already started to show
traces of a new figurative line of exploration, with a greater
formal definition. In the 1970s her painting continued to develop
along this line of "formal fantasy" which imprints on her works a
dense and increasingly intricate chromatic volumetry where
figurative elements are combined with abstract forms, in an
ambiguity between figuration and abstraction.
This ambiguity is overcome in the 1980s when in keeping with the
earlier evolution of her work, Menez differentiates and makes
visible figures that occupy a scenographically transformed space in
the painting. These are interior scenes, most of them of studios
but some of gardens, always enclosed spaces that invariably
communicate with the exterior. These paintings of studios are her
way of "painting the act of painting". Strangely familiar because
they belong so closely to the reality of her working environment -
where the ceramic pots full of brushes, the easels, the open books,
the numerous canvases in different phases of execution can all be
found -, these paintings are projections of her imaginary,
topographic extensions of her way of "inhabiting" the space inside
and outside painting. Using the classic strategies of painting
(treatment of light, use of perspective in spatial organisation),
her workspace is transfigured by the ambiguous relationships she
establishes between interior and exterior. The studio opens up to
the outside space - a garden or the window that focuses on the
Tagus River - through intermediate spaces, rooms that fragment in
sequence, or through the demultiplicating effect of the mirrors or
of the paintings within the painting.
Her female figures inhabit this enigmatic space in dramatic
isolation where their gesturality is staged, just like the
spatiality is staged. In some of these paintings the artist seems
to represent herself as a model, in a staging of the act of
painting where she herself is the object of the painting.There is
no possibility of a personal narrative in these works: the
protagonists are constituent parts of a scenographic composition
and are, for that reason, unreal.
In one of her rare interviews, Menez stated: "The figurative has
to do with something intimate, mine." Accepting the silence of her
works, the absolute immobility of her figures and the
discontinuity, which sometimes gives way to a temporal and spatial
overlapping where they are inscribed, is the best way to relating
to them. Under the façade of familiarity, they are inaccessible
because they are far from the common appearance of the visible
world. And these characteristics have always asserted themselves in
her painting.