Water, earth, woman, color – the inner formula of the explicit figuration is given by Eduardo Flores during an interview in 1989.
The sceneries and seascapes of surrealistic feeling from the first period had, for sure, the influence of Carlo Carrá, his master. This theme was subsequently substituted by a visualization of the woman as representation of the feminine component of our reality, both in a psychological meaning, and in a wider, ecologic and social context. His moving to Brazil acted as a agent of expression, modifying the European classic model through a primeval component of archetypal elements, activated by the unexpected (or maybe sought) meeting with the syncretic, pluralistic, mystical Brazilian soul, and the Afro and Indian cultures.
I am pointing out some works belonging to the first period, exactly the less defined ones, those allowing appearing, out of the shadow, the goddess-like details of the sweet, statuesque women of his repertory. We must emphasize the correct use of light and shadow, for sure deep-rooted in the Italian artistic apprenticeship.
These paths are proving themselves, because the production, the daily exercise, are disclosing the voices, the higher signals.
Eduardo Flores has all the instruments, and the sonata is already clear.
The sceneries and seascapes of surrealistic feeling from the first period had, for sure, the influence of Carlo Carrá, his master. This theme was subsequently substituted by a visualization of the woman as representation of the feminine component of our reality, both in a psychological meaning, and in a wider, ecologic and social context. His moving to Brazil acted as a agent of expression, modifying the European classic model through a primeval component of archetypal elements, activated by the unexpected (or maybe sought) meeting with the syncretic, pluralistic, mystical Brazilian soul, and the Afro and Indian cultures.
I am pointing out some works belonging to the first period, exactly the less defined ones, those allowing appearing, out of the shadow, the goddess-like details of the sweet, statuesque women of his repertory. We must emphasize the correct use of light and shadow, for sure deep-rooted in the Italian artistic apprenticeship.
These paths are proving themselves, because the production, the daily exercise, are disclosing the voices, the higher signals.
Eduardo Flores has all the instruments, and the sonata is already clear.
Translated from a text of Walmir Ayalla, Rio de Janeiro
A more recent documentation is showing new paths. The superimposition of drawing, making dynamic the space; the overlapping of color spots, due to a large knife technique; the reinforcement of the transfiguration; the re-affirmation of the introspective model, directed to a feeling of loneliness. The woman at the center of the world stores up the whole attention of the artist.
However, we cannot see in this model just a Latin-American or Brasilian biotype. The woman focalized by Eduardo Flores is the universal woman, the earth-woman, the ocean-woman, the galactic woman. She is curved because she feels nostalgia for her fetal condition. She is identifying herself with the air, the night, the storm, the genesiacal light. She doesn’t have any obvious connection with the couple, she is the unity. The dive of Eduardo Flores in this nearly obsessing quest, is warranty of continuity and rightfulness.
His theme is today joining a nearly graphic approach, as a line of light defining the anatomical synthesis, with a nearly sculptural painting, impressing in tumultuous backgrounds the bodies defined through a passionate, warm gesture.
However, we cannot see in this model just a Latin-American or Brasilian biotype. The woman focalized by Eduardo Flores is the universal woman, the earth-woman, the ocean-woman, the galactic woman. She is curved because she feels nostalgia for her fetal condition. She is identifying herself with the air, the night, the storm, the genesiacal light. She doesn’t have any obvious connection with the couple, she is the unity. The dive of Eduardo Flores in this nearly obsessing quest, is warranty of continuity and rightfulness.
His theme is today joining a nearly graphic approach, as a line of light defining the anatomical synthesis, with a nearly sculptural painting, impressing in tumultuous backgrounds the bodies defined through a passionate, warm gesture.
Translated from a text of Walmir Ayalla, Rio de Janeiro
Eduardo Flores researched the formal and chromatic harmonies, and studying the feminine figure he created his own system of proportions, harmonizing the classic canons of beauty with the reality of contemporary woman.
In his painting the Yin element is always present: feminine, magic and suprareal, however contained within the reality: water, earth, woman, color. It is springing triumphant, echoing intimate, sweet feelings, the dark and definitive Mother Earth’ interiority, the singing of waters. And, at the very center of this inner constellation, woman’ soul read through the musicality of the contours, the life and the movements imminent in her vibrant stillness, through her primordial purity, her fusion with other forms of nature, part and soul of these forms, nourishing Mother of all of us.
Coming to Brazil, but carrying with him the fascination of his native Mediterranean sea, specially of the sloped Neapolitan coasts, Eduardo Flores met and lived the definitive, magic, telluric essence of the autochthonous culture of the Brazilian state chosen for establishing his atelier: Mato Grosso, specially the rocky walls and tablelands and water falls of Chapada dos Guimarães, and the flooded plains of the Mato Grosso Pantanal.
Water and earth, both met in this so loved nature, are for Eduardo Flores the exterior representation of the deepest roots of the feminine.
In his painting the Yin element is always present: feminine, magic and suprareal, however contained within the reality: water, earth, woman, color. It is springing triumphant, echoing intimate, sweet feelings, the dark and definitive Mother Earth’ interiority, the singing of waters. And, at the very center of this inner constellation, woman’ soul read through the musicality of the contours, the life and the movements imminent in her vibrant stillness, through her primordial purity, her fusion with other forms of nature, part and soul of these forms, nourishing Mother of all of us.
Coming to Brazil, but carrying with him the fascination of his native Mediterranean sea, specially of the sloped Neapolitan coasts, Eduardo Flores met and lived the definitive, magic, telluric essence of the autochthonous culture of the Brazilian state chosen for establishing his atelier: Mato Grosso, specially the rocky walls and tablelands and water falls of Chapada dos Guimarães, and the flooded plains of the Mato Grosso Pantanal.
Water and earth, both met in this so loved nature, are for Eduardo Flores the exterior representation of the deepest roots of the feminine.
Translated from Corriere della Sera - Milan
In this effort of balancing the magic sensed in the feminine essence with a cosmic ideal of harmony, Eduardo Flores places drawing on painting, looking for a lyric touch of transfiguration, making his art introspective and thoughtful.
In a nearly exclusively graphic project, powered by bright and geometrical backgrounds, Eduardo Flores asserts a gestural art, being a pictorial sonata of invisible and inaudible things, transposition of the daily sight at the universe of archetypal forms.
In a nearly exclusively graphic project, powered by bright and geometrical backgrounds, Eduardo Flores asserts a gestural art, being a pictorial sonata of invisible and inaudible things, transposition of the daily sight at the universe of archetypal forms.
Translated from Jornal do Comercio - Rio de Janeiro
Colors and shapes... and my eyes are filling with enchantment, are learning about tonalities, transparencies, movements.
I’m accompanying, attentive and enthusiast, Eduardo Flores’ trajectory: man and handwork. Even not taking into account the Italian classic formation, he – as a man – would always be an aesthete, of refined feeling for beauty – its concept and transcendence.
I will not dare to afford definitions and commentaries about workmanship; the only thing I can say is that he enchanted my eyes. He enchanted my eyes. He enchanted my eyes in an unusual form. Daringly, I would say that Master Eduardo Flores gives a taste of voluptuousness and, equally, of sublimation to Nature and to feminine lines.
And what about the Master’s pleasure in sharing his knowledge? To my eyes, always attentive when the subject is Eduardo, he places his work to the beautiful stature of Office.
Eduardo Flores: a man whose eyes stare at Nature, loaning colors and movements and then, with his hands of Master of Art, applies them on his canvases.
I’m accompanying, attentive and enthusiast, Eduardo Flores’ trajectory: man and handwork. Even not taking into account the Italian classic formation, he – as a man – would always be an aesthete, of refined feeling for beauty – its concept and transcendence.
I will not dare to afford definitions and commentaries about workmanship; the only thing I can say is that he enchanted my eyes. He enchanted my eyes. He enchanted my eyes in an unusual form. Daringly, I would say that Master Eduardo Flores gives a taste of voluptuousness and, equally, of sublimation to Nature and to feminine lines.
And what about the Master’s pleasure in sharing his knowledge? To my eyes, always attentive when the subject is Eduardo, he places his work to the beautiful stature of Office.
Eduardo Flores: a man whose eyes stare at Nature, loaning colors and movements and then, with his hands of Master of Art, applies them on his canvases.
Translated from text of Luciene Carvalho, Poetess
... Flores presents several canvases where he shows a new form of looking at Brasilian landscapes, whose colors enraptured him to such a point that he decided to live among them ... The works, figurative, represent Flores’ struggle of extracting the essence of the objects, instead of simply depicting them with their details. An example, he mentions, is the canvas “Bird’s song at sunset”. – You do not see the bird, but surely you can hear him – he assures ...
Translated from A GAZETA
... – Mato Grosso’s Goddesses are brown – is the declaration of Flores, inspired by the harmony of the feminine figure; he draws with purity the nudity, subtly wrapped in veils that, due to the graffito technique, gain effects of transparence. The hair of these universal women spread out in very thin threads ... Elements such earth and water are also used in the works of the painter who traces, with colors sometimes powerful, sometimes delicate, serenity and explosion ...
Translated from Folha do Estado
...The Italian Eduardo Flores ... received prizes in Brazil and abroad ... he paints the symbolic meta-realism ...
Translated from Diario de Cuiabá
