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The Inspiration for an ArtisticMovement

                                                  Lourenço Gonçalves
















To think is to share the dream of learning

Live and acquire knowledge to grow

Question to add value to what we do

Feel to realize our universe

Vibrate with the meaning of things

Discover in the others

What we are in essence

Immaterially ...



To Denise, who made all this possible…





The VOLUMETRIC CURVE LINEARISM is the art of work multi-dimensionally, the ability or condition of an object, a text, a poem, a musical composition or a thought, producing meaning and movement which express themselves in loopsor curves, expanding the space and topologically transforming,the lines, thatdrawn infinitely in the universe of possibilities and in a particular time, are intended to portray life











I believe in art and its power to change the human perspective while contributing to enrich the mind through the development of the senses, such as a door that opens itself to allow us to come in or to go out, a way to show the existence, not as it is but as we human see it, interpret it, mould it with our minds and our cultural perspectives. 

I believe art should break the ignorance of all materialism in order to teach us something and through the exploitation of the means to allow us to learn the ways to tell the world (the peers or the strangers) who we are and to all we want to share with others, but the vision and the value of the art is some kind of effort, some kind of fashion that became surrounded of mystery to the simple beings that we consider an equal, the common man whose life can be spoiled in the struggle for survival. As it happens we lose the opportunity of changing, learning, enjoying the simplicity of sounds forms, scents, colours and movement, whether fluid and continuous or dense and static, that is the reason to propose portraying life with meaning and reasoning, in several perspectives, in the exact composition that will allow pleasure to the mind and poetry to the heart, because the look cannot lose the focus of the art and the materialism cannot kill the senses, and this is the essence of these techniques extracted from so many masters and thinkers. The dream is to provide the art with another channel of communication.

What I produce, what I grab from the depths of my soul, is a vision resultant of a life dedicated to the painting of beings and their displacements. It is also about their settlements, wherever they go, in the constant move that contradicts the background of their life. The expression of the freedom they carry in their soul and their mind is what I want to capture on the canvas in order to display as an immaterial conception of the being.

We should not struggle to create art but we do.  We struggle because we want to find the way to reach all those who will understand and share with us our visions.

The ways and forms we certainly apply to format the myriad of images we constantly bring to the surface. It is hard when we cannot achieve the realisation of the inspired message.

This manifest is a single invitation, an effort to break the difficulty of the condition we face as artists - a condition which is also embedded in our human condition. We face the hardships of the social condition,we fight for survival or for understanding, but one also needs the space and the freedom to process the ideas and the images witnessed in the mind and in the wings of inspiration, maybe in the void of the great challenge we call life. The thing is we need find a way to transcend the difficulties imposed by life itself, but long ago I learnt it cannot be done in the enclosure of the self.

I am here insearch ofthe company of those with whom I can share the learning and the ideas that will help to change the scenario of art where I live. If I am lucky and persistent, if I meet the right people I may extend my quest and communicate in other environments just as I did with my paintings.

It is the reason to write a manifest and share what is proposed in this newly conceived form of portraying the beings. Sharing their story and their dreams I so deeply connect with.

I hope I can move those that think alike and that they grant me their inspired views and share with the Volumetric Curve Linearism some of their stories. I hope they bring new ways of expressing displacement but also that they show the struggle to cope with re-settlement and the anguish of being different, of carrying in their thoughts and gestures the need to fit in and to adapt.

Art is deeply ingrained in our souls, lost in the look that inspire change and the need to display the beauty of all instances of life, even those which may portray fear, complexity, suffering or inadequacies.





When the art, or expression of human creation, began to emerge in human history, humans could not think or analyse its contents yet,the artist who, since most primitive times, portrayed life not for posterity but maybe to record the important moments of the community. At that time the artist’s effort was not regarded as artistic but maybe as a way of telling their stories by a wise and skilled member of that community. There was no technical preparation in terms of creating a masterpiece but certainly there was a lot of meaning for his effort, and the need to cross the barrier that kept him away from others, creating in that act and at that moment a form of communication and a visual language which certainly repeated itself in different parts of the world.

The art as human expression has evolved since then, and just like our first artists, we still try to go beyond our internal imagery to share with others our views of life, of our species and the ways we try to portray our culture, our values ​​and a whole range of important aspects of our generation.

When I say species I mean the human species, this distinguished group of beings, who despite their differences of race, colour, and diverse biological and psychological composition, have produced culture and knowledge, and have shared this knowledge or have denied this knowledge, but haveeven inaccurately and constantly evolved and survived all the changes imposed on them over the millennia.

On getting out of our minds and beyond of our beings, we can communicate tothe others our notion of reality, our ideas, concepts, dreams, desires, visions ... As we seek to create at the outside what in our mind is already a reality, we confront with the parallel universes of so many other minds, which bring in content, ideas, concepts, dreams, desires, visions and so much more...

By creating we leave the safety of our inner world and become exposed, in whatever art we produce.This exposure can succeed in sharing but may fail in the face of so many languages ​​and techniques and maybe this is why the languages, techniques and schools multiply and spread steadily, proving that the creative capacity of man is infinite, even if the art proposal is just a variation of existing forms of art, we see in the innovation, the fundamental role of the redesign, improvement and implementation of changes.

What is difficult is to see others using the same technique or language that we created or discovered as if it were their own, and it is in such occasions. that the creation becomes a disappointment, forcing the art to be  personalized, registered, obliging each artist to compose a brand, a way to define the aspects of creation as part of individual work and although we have so many subjects and teachers, despite the fact that knowledge is a set of processes and not an isolated act, through which schools are created without sharing, we see the expression of art becoming individualized for posterity, but we are denied being able to learn  each other’s values and sharingthe great contribution that the plural work has to the whole.

Learning illustrates the need to share and teach to avoid losing sight of what was created. The artist in his constant pursuit of perfection and improvement rarely has time to sit down and put into practice other art than the one he majors. The writing art is an example of this. Out of their art production, their innovation along the centuries, their thinking, which is part of their contribution to humanity, a lot the artist can do is lost to posterity because it is not externalized as knowledge but only as art.

The interpretation of art is complex and dramatic if we think that the art lover sees what we compose with his/her own eyes not exactly sharing what the artist thought in the process of his creation. The image analysed by the art lover has its meaning interpreted but the technique and the creative work does not appear as composition, but only as a result.

When I started to paint, I was already an adult, and despite living with art all my life, I did not think about the technique, the resulting composition of the created art produced by the other members of my family. And I must say that in order to learn I had to search in the masters’ works forthe knowledge I lacked,whether in the notion of colour, texture, shape, even the composition, while I tried to reproduce not their work, but their techniques. With difficulty I learnt the formulas that inspired me to create a style that is a summary of my message to the other, or better saying, to the others.

Waking up to art, was somewhat like awakening to life. Despite my family history and of living with parents and siblings who were artists, I didnot embrace art as a profession and was later forced to do so due to a need to changeprofession in order to survive the setbacks that I faced in my professional career. Only then I allowed myself to pursue the learning the art which is so difficult and complex because art is not something accessible and open. Schools are only for the elite and learning self-didactically takes years of research and study hours as well as a lot more hours of trial and error, until I could reach that formula, that style which allowed me the full execution of the ideas I thought or imagined.

The inspiration is what drives us to create the new, to make new interpretations of reality and to give content to the idealized images is not easy.Visualize new forms of movement and expression and the need to cope with visual technologies, to bring the necessary progress that allows the painter to recreate, in simple brush strokes, the visual universe of the art, extracting from the bi-dimensionality of the screen the new dimensions and new movements to express the content of the creation.

The vast myriad of images that covers the imaginary world and the choice of objects is related to topics explored and most appreciated by the artist. For some the painting of a scenery, for others the composition of urban scenes, for some others the human image, yet others transcend in the surreal composition of inner imagination.

My first foray into the creative environment is attached to a human group, a story, something I have witnessed over the life here in Brasilia, displacement and resettlement effort. It was with this group that I spent the first phase of the learning process of creation - with the migrating individual’s saga that I began my more concise imaginary trip.

Removing from this group the necessary notion of the message I wanted to share I created my formula of movement, and in order to compose the formula, it was necessary to format the three-dimensional image which works to show the freedom that the characters search in order to impose themselves against the limitation of the background, the freedom that would bring tothese characters the living spaces that exist only in their minds. But the beginning implied also in handling the physicality I would design to achieve the image I wanted to bring to light.

The displaced man, in a new settlement does not enjoy the same space and condition that he previously had in his primary habitat and his existential needs while moving are more important than his intellectual needs or his feelings. The social constraints and lack of knowledge, the difficulty of expressing his thoughts and of sharing his inner world (one can only share when environments and compatibilitiescould be discovered, expressed, experienced and know how difficult this feat becomes when one is displaced, when one tries to rebuild the life in a new context and amongstrangepeople).

You cannot paint, draw, write, create in any way if you do not understand the object portrayed, if you are not allowed to view the object in a more intimate way, opposed to a vague thought or a superficialanalysis.

It is essential to look into the wayportrayed beings thingto show the implied sensation of the motion and the perception we have of thissubject and his/her reality. To feel the other it is necessary to question the content we did not think before when the phenomenological aspects of our knowledge were only academic content, part of a whole that despite being composed to prepare us to understand the facts of distant realities of universal collective interest of the beings  in their everyday life.

The thinking is an essential tool but the notion that we must work more thoroughly is notthoughtof until it is absolutely necessary to explain the meaning of things, and only when we need to understand fundamental processes then we stick to the thinking that leads to searching, to finally discover the core of these processes that determine the events and in my case it was necessary to explain the displaced people whom I had begun to portray.

Painting   is to show in images, colours, textures, perspectives and different ways, the reality and the notion with which we have witnessed these realities which accumulate and repeat themselves before our eyes. The mind keeps searching not only for meaning and ration in order to refine thetechnique,but also for improving our reading of the reality.

The discovery of the new transforms us and makes us want to learn how to enrich the content of our findings, these findings that make us anxious and highly volatile, and as a sponge we begin to acquire a little of everything and our curiosity leads us to seek more , to read, ask and answer about our art and beyond the technique we improve our knowledge of life, philosophy, sociology, biology, human physiology, history, geography, culture in general and then the culture of art, the language we speak, the national and international literature, poetry and music and everything else that the human mind is capable of acquiring and learning.

In the beginning everything was more difficult and more expensive, inaccessible. The artist is a person like any other in the ways of home maintenance as well as caring for the family, the need to create a work environment that allows the creation and the hours of intense concentration, the necessary isolating to communicate what is beyond the everyday, summarizes and translates what the learning years of research and study was for me. It is necessary to exhibit and sell; you have to confront the establishment with the reality. We do not exchange one commodity for another;we need to sell our product, to have our creation evaluatedwithout questioning the meaning of our work, the value placed on our creation, which in certain places of the globe is scary.

It is not easy to learn techniques, self didactically, studying in depth the masters to acquire the formulas without explanations or the guidance that leads us to achieve control overcertain image or the result theyproduced whether in drawing, painting, etc., while dealing with colour, texture, technique, etc., to compose a work of art and everything else that is beyond the functional.

Being self-taught forces us to learn without a teacher andto evolve slowly into a crowded market of foreign shows, where in order to have aproper development, the artist has to rush to be productive, to expose his art, to sell his art to do everything by himself.

We need to learn the art but we must also learn about politics of the art, we must find the art lover, to find the right spot to show our pieces and we have to run a business. Besideeverything is it possible to build a style, techniques, all along the production ofimpressive results that will amount to thousands of frames in special series, collections that recorded and catalogued will allow the artist to think he has finally achieved an important result.

One has first to understand and explain to oneself and then to others to whom he/shewants to communicate, because communication without content is useless and although art can communicate many ideas, it is necessary to tell the story that leads to an acceptable format, to explain the content beyond the product.

Philosophy tells us not only the history of thought, but all the effort to compose and understand the thinking. From the earliest days when man was seeking meaning to existence, from the start when he realized that the answer was not only in himself but in the whole of which he was a part, a whole that originally had a divine image for man did not know how to think and consequently sought, in the hidden, the source of all the mystery which filled the human mind.

But philosophy also includes science and whatever else knowledge brings to us. I think I can say without making a huge mistake that philosophy is the mother of all branches of knowledge as it is the essential inquiry which leads to research, to the survey and the development which will produce more knowledge, and in my limited search I realized that any quest for knowledge always leads to philosophical thinking, questioning and formatting new theories and ideas. It would be difficult to present this manifest and shape this new way of expression art without the help and the content of philosophy.

Besides the philosophical insight, and the deepening that different schools provide, it was also necessary sought beyond and despite the content of phenomenology, specifically the work of Merleau-Ponty that provided the  understanding and knowledge of the bodywhich wasnecessary to explain the reasons beyond our perception of  art and the connection of this work with the study of the personality of the characters, the analysis of the timeless human beingcaught between the need to survive and the need to grow and develop intellectually and spiritually so that life gets a meaning, a reason. It was also necessary to explain the passions that lead the artist to create and to grow, in addition to realisethe individuality, and ultimately to manage to be plural because, as Sartre tells us in his cogitum:

"Everything we are comes from others therefore to be is to belong"

We have the ability to live and to show this pluralism embedded in the quest for being what we want to be, tryto share in order to what we learn to finally complete the creative process.  If we grow and truly understand the meaning of growing we must in return teach and share the acquired knowledge.

When portrayingthe body I try to show the adverse condition as a background. Because as life is opposed to death, the adverse condition is opposed to freedom and movement, if wethink the human body as a vehicle of our mind, of our soul.Despite mobility provided by the body we have to consider that this body is limited by the adverse condition, the habitat that composes the background of the screen. If the limitations imposed by the adverse condition, that restrict the movement affect the way we describe the reality it will be necessary to explain our condition, because what restricts our freedom is the conditions we are submitted to and not our bodies.

The VolumetricCurve Linearism has provided me with the tools to introduce the movement, to incorporate space and express the personality of the beings I work with and the Geometry of such conception has enriched the lines of all shapes I used as base for the figures I portray in order to show this human saga …

­­­­­­­­­­­­­­­­­­­­­­­­­­According to Jacques Lacan it is a mistake to think that because we are present in our body, we have full knowledge of it. In the period ranging from six to eighteen months of life the beings discover their body unity through the experience of the mirror and even when they are adults they know that the experience of the body is pre-reflexive and a large number of beings go through life without knowing how this works and how their bodies get transformed in all their nuances. We only see our own body by looking at the mirror or through the eyes of another.

The Western philosophical concepts need to be explained as a compound of two parts (body and soul) which is defined as psychophysical dualism, a dual reality, a contradictory dichotomy.

For Plato the soul is superior to the body which contradicts the assessment of the Greeks of beauty privileging the exercises and physical fitness, this view prevailed until the middle ages when St. Augustine, in his theological synthesis, examined the body-soul relationship and claimed that they constitute a unit, although the soul is immortal and the body is mortal. But thanks to freewill and aided by divine grace, the human beings can avoid evil, because the soul can rule the body and is free to elect to be good and do what is correct or to be evil and sin.

I apologize for introducing here other elements but this occurs to seek the relationship of the body as a vehicle of the mind facing the adverse condition of existing, of seeking for answers to achieve the essential freedom. It is a sacramental part of the conception of freedom worked in the Volumetric Curve Linearism and it needs to be explained because whoever embraces this artistic movement will also embrace this quest.

It is in the Renaissance and against the directives of the church that physiologists began the dissection of corpses and the attempts to discover the unknownaspects of the body.

The Cartesian philosophy based on the methodical doubt begins to doubt the reality of the world and of the body till it reaches the first indubitable truth: the cogitum, the thinking which sets the body as pure exteriority, as an extended and material agent. It considers the being to be composed of two distinct substances: the thinking substance of spiritual nature (thought) and the extended substance of a material nature (the body) which in our view is still a psychophysical dualism.

This positioning keeps the Platonic dualism despite combining the body to the mechanistic view of a human-machine. With scientific development the mechanical model is replaced by other more sophisticated theories, despite reducing the individual to the bodily dimension and subject to the deterministic forces of nature, deprived of being responsible for his own destiny.

Just as happened with the human beings from different eras the occurrence of displacement is present along the humankind history and it shows how life is played in different ways affecting the lives of millions of people that constantly re-settle whether to different places or to different realities forced on them by external forces, by the adverse condition. A very recent example of this situation is the war in Syria and the consequent displacement of millions of people.

In the eighteenth century studying moral behaviour, Baruch Spinoza search for the hindrances of the exercise of free will and of freedom and consequently developed a theory that challenged the absolutely innovative dual classical Greek. The novelty is the theory of parallelism, according to which there is no causal relationship or hierarchy between body and spirit but simply a match where what happens in one of them is expressed in another. That body and soul are both passive and active consequently if we are active we are like this when we act autonomously and are masters of our actions;we are passive when our body or soul has an external cause more powerful than our inner strength, our will.

What Spinoza argues is that the relations between bodies result in sensations as it is the nature of the body to interact with other bodies and to be affected by them. The manner in which a body affects the others, determines two different situations: the increase of our power or joy, or the subtraction of our power or joy which can be described as sadness. Spinoza calls these passions of joy and of sadness. How to avoid the sad passion and joyful passion is provided by the originality of Spinoza for whom the soul does not determine the motion or rest of the body, nor the body determines the thinking of the soul. Unlike other philosophers hesays that in order to achieve freedom it is not necessary to get rid of the passions but tobe able to realize that it is achieved because of the passions: freedom is self-determination and autonomy.Thus affection is never overcome by an idea, but a strong affection is capable of destroying a weak affection. He stands as a philosopher of life and considers harmful the entire ruling of life based on moral duty, and the notion of lack of merit, sin and forgiveness.

Through the concept of intentionality, a phenomenology attempts to overcome the dichotomy between spirit and body and the dichotomiesconsciousness-object and individual-world determining the relations of reciprocity. The vision of the body as facticity, in the sense the body is there among the things but is not pure facticity because it is also access to the things and to itself.

The body is the first moment of human experience. Before fully developed into a being and developing the knowledge of the subject the personis a living creature with feelings. Through his/her work the being changes the nature at the same time that he/she changeshimself/herself. They are not instruments like machines or tools are but they certainly are agents of transformation and creation. The facticity never separates itself from the transcendence that results from the sense that it gives to what is felt.

When you paint or show the beings and the image of being is conceived as the vehicle of this humanism you cannot avoid to definethis being.If we consider that at the end of the second millennium, humanity was suffering a paradigm shift of a model that began with industrialization and urbanization, and culminatedwith the information age and consumption and the changes brought by the technological revolution have certainly caused a reformulation of this society’s perspective. Profound changes transformed the life of traditional societies, whose deeply rooted values are extremely difficult to be changed, but due to globalization, it ended up sharpening the need to improve and acquire new meaning and insight into all aspects of human behaviour.

The body is certainly the major focus of any change and the body metamorphosis, the constant reforming of the body, therefore implies in the modification of its trajectory, and as you move the centre of the artwork beyond the Platonic psychophysical dualism integrating the body and soul, embracing the duality of being in a unit that even in the individual scenes composes a whole that contradict the adverse conditions of life, such as presented.

The Being that I propose to depict is within a trajectory that will change their shape and appearance, and the movement researched and applied by the Volumetric Curve Linearism detaches human body from the insane corporeal idolatry insane, that occurs since the sexual revolution started in the '60s, whose proposal was the rescue of body but at the same time generated contradictory reactions and idolatries, that alienates the soul and blocks the vision of the body in a dualistic way. It also preventsviewing the essential duality, the existence of a whole being which is only possible if one acknowledges that body, soul and mind are parts of the same being and that all beings are therefore composed this way.

The body which is then defined by aesthetic concepts fails to bring this realisation. The aesthetic concept contributes to the adverse condition, as the body is subjected to social, political and economic determining factors which also move the body from its primary pathway.The body changes in the course of fashions, beliefs, prejudices and ends up in the limbo of the survival stage, the struggle to be beyond itself and to develop this consciousness of beingdemands time and effort. It may exhaustthe being; it may take a lifetime and still deny the being from belonging which is the only guarantee of a shared and plural existence.

The model of capitalist exploitation determined a dominant policy that resulted in the devaluation of the body and of the passions and only after 1960,under the influenceof the sexual revolution, we can witnessthe process of recoveryof the body and as a result of this cult of youth and beauty,by the contemporary generations,we also witness the growth of a narcissistic individualitywhich is highly conducive to live alone and in pursuit of the present needs in detriment of the search for a plural search for discovery that would allow the full expression of the being.

A art as the expression of human perception traces the different periods of this physical saga that determines patterns and behaviours, as well asthe difficulties of human coexistence and the different enigmas of the being.

The philosophy is undoubtedly awayto discover about life and the reason forthe things and events, and despite the content and ideas that reside in our minds it is in the plural thinking that we find the essence of what we seek for in our affairs and with our choices. It is in the process of doing things that we format our thinking, and while shaping this constant human formatting,life is reinvented, allowing the being, this bearer of human memory, to expand in the universe, bringing the past into the present, reinventing the reality that takes place in one of the many dimensions we call life.

It is because ofthis journey that involves so many values ​​that I present this manifest proposing the joint search, the discussion of the art of which the focal point is the being, the displaced being, the transitioning being, the being in search of space to fit into the new realities that overlaps the will, the being that reshapes himself/herself to deal with the adverse condition, the being that transforms our aesthetic concepts to finally settle and develop.

But the concern of doing and thinking does not extend only to life, it is about art, music and literature and all creative processes that express the human soul, the culture,the habitat and psychological functions face of all change and the adverse conditions that cause displacements and resettlements, the advent of technology that leads to great losses of expressiveness in face of massification, the financial gain which stands opposed to the ethical and moral values.

Against all odds, the cold and cruel loss of human value that is represented by the adverse condition against which we stand and propose this manifest as a necessary exchange that will foment the thinking and the questioning to explain to the passer by the meaning and the objective of our creation, the reason to bring to our screen, to the canvas, to the paper, to the existence, our formula and our style, the re-invention of the content shared for so many generations of artists and thinkers of the human condition.

And thinking about this essential being , and the centuries of sharing and the depths of this  life, its values and all that justify living and makes it unique and possible to each and every one of us, we claim for this diaphanous light that includes the art, the creation and the creator to once more reform the pattern that affects us, to move and change the shaping of this oppressed being, this being who lives in a society that isolates and hinders its plurality which is so necessary to its existence.

Life became so small for so many and so complex scenarios. We do not think about values metaphorically, in a lyrical, literary and artistic way but as composed products that suck our attention for days, months and years,in an unrealistic and materialist way. We seek values instead of content and consequently we get lost in the unreal representation of characters and models of success, losing sight of the mutant being that represents our evolution and our thinking. We create the reality of our dreams and get lost whenever we give up our fundamental plurality.

But the most important is not to complete and conclude our proposition of searching new formulas; the manifesto is a call to questioning and learning, an invitation to work and a gesture of response to the adverse condition.  It introduces the creation of a school that through new techniques of composition and interpretation of the being seeks to reinvent, innovate and show new formulas, new propositions and an endless and prolific debate among all those who cross this stunning area of ​​human creation that is art, aiming at sharing not only to understand a little more about life but to allowto all a more plural approach in detriment of the adverse condition.

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