The visual forms of Nicolas Vlavianos have, throughout time, undergone a constant process of renewal, while at the same time maintaining an extremely forceful and identifiable structure. Not only has the sculptor successfully managed to preserve his own highly ordered perception in the search for meaningfulness within his work, but he has also allowed himself to be open to the flow of any outside influences. The result

of this dialectic is that throughout the different periods of his work there is a remarkable unity presenting a profile that is both progressive and dynamic.

Moreover, this unity is perfectly illustrated by his selective choice of metals, together with the manner in which he deals with them. Although he works with aluminum and brass, stainless steel has proved to be his prevailing preference. Whatever the choice, they are all subject to similar processes of cutting, folding, fitting, overlaid screwed plating, welding, incisions and perforations. And it is through these varying processes that his human figures, plants, trees, birds, "bird-plants", clouds and his wildest imaginings emerge. In short: a brief but smooth ontological existence (at times exceptional for sculpture) transformed into affective geometrical shapes and forms. Finally, the images of his work are touched with his own articulate sense of individuality to produce a cosmic interaction — illustrating his total comprehension of the affinity. It is little wonder that with just the slightest contact we are able to identify his work instantaneously.

Some time ago I had the opportunity to write about Vlavianos’ interest in man (expressed in all metaphorical senses of the word and particularly — the mythical; through convictions of the remotest resonnant values in the modern being). This interest was extended to selected elements of nature — which we have just mentioned — and to the unusual forms as in the case of plants and clouds.

What was being stated in these stages of intense production prior to 1980 was a complex language which makes itself effective on the interface of organic and geometric principles. In fact, nature and abstract forms participate together on an equal footing as if they complemented one another. These constructions could in fact be called — assemblies. They immediately attract the attention because they are severe orderings yet presenting problematic harmonization. This comes about since their precise structures are always to be found under the tension of destabilizing factors. No doubt, within the broad lines of his creative process, there is a presiding rigorous rationale. Very often this remind us of the author’s cultural heritage, in which the classical paean is certainly contained. Furthermore, within these balances there are also revealing surprises. Vlavianos’ spaces distinctively impose vision as a relief with the effect of being personalized by the dynamic registering of the wrinkles, slits of welding, repoussés, intercrossed rods etc., generators of rhythm, movement of planes, alternation of light and shade, besides exploring the reflections of stainless steel. They are to bring a dramatic counterpart to the immaculate parts of the volumes or to the smooth and diaphanous surfaces with which they finally form a whole. This sculpture is characterized by the search for different expressive situations, by the frequent passages from one plastic situation to another, whose limit intervenes, by no means rarely, within the preciousness of the grooving.

A piece from 1978, a square U-shaped construction, with pure architectonic planes, supports an organic or natural form of complex expansion. In this case the theme is the representation of clouds. A theme hardly found in sculpture, yet an excellent example, amongst others, of the characteristic interaction of abstract and figurative forms. Perhaps on a subliminal level, the rigid lower segment situated on the ‘U’ conducts to a conformation of machine geometry. From this work on may infer other symbolisms, a fact which evidences the semantics available to this author.

As always, since the beginning of the 80’s, there has been continuity and there have been variations in the work that followed. The machine began to absorb all the artist’s attention, less for its rational beauty than for its functional elements, or better still — for the idea of its functioning. In his past iconography, from the 60’s, the machine articulated itself into other forms — as in the robotized figures entitled "Personages". But it is in this final phase that the machine becomes a full reference. This came about with the execution of a series of works considered to be in the stage of models (some of them transposed in definitive scales).

Gear, 1984. Riveted, brushed and polished aluminum, 19 x 31 x 11 cm. Artist’s col., São Paulo.

The previous inventiveness adds itself to the development of an experience which conceptually explores the visceral world of industrial objects. The idea was that pistons, gears, cylinders and other mechanical organs compose space as imaginary elements representing a rational reality. Nonetheless, this inspiration in the dynamic functioning of technological pieces — including the computer — never ceases to be a manifestation of the intimacy of an affective geometry. Moreover, it is capable of creating distortions and asymmetries from which conflict situations are reiterated. These parts, faithful to the conception of the relief, are often constituted of two parts. There is the stainless steel ‘gear’, shining and suggesting movement and the ‘casing’ made of brass with a matt colour, in a square or rectangular shape into which the rest is fitted. The result is a contrast between the illusion of the movement of the sparkling metals with the relatively static opaque box containers.

In other pieces, the welding has very often been applied in order to provoke effects of strong corrosion in the material. This way he was able to recreate à rebours in the geometric volumes by placing them in a partial state of obsolescence. In spite of the evident technical difficulties to provoke such contextual results, the sculptor is successful, and we could safely say that he reaches that "encounter of all conveniences" expressed by Delacroix.

Hieratic object II 1991. Welded and polished brass and stainless steel 109 x 39 x 39 cm. Artist’s col., São Paulo.

Last stage, from 1990: a series of representation of utensils, machines and house-hold electrical appliances which manifest the unfolding interest in the industrial form. This was originally investigated, as we have seen, in the aspects of generating movement under a bidimensional viewpoint. Here, three-dimensional objects are being dealt with and without a privileged point of view which was fundamental before. What changes mostly is the introduction of a relaxation element both humorous and with a sense of playful satisfaction.

In fact, his aim was to create big sized pieces. This came from the impressions he had felt from the gigantic machines used in the construction of motorways (a project that is still to be carried out). However, cost factors mainly have moderated his intention and he has deviated towards a class of smaller instruments such as the little rollers used to level asphalt or indeed heavy brushes. Besides, he has also turned his attention to certain ‘cult’ objects in shop windows.

The relationship between art and the machine has passed through the century in multiple and rich instances of reflection, both by individuals and movements. As time went by it can be noticed how the negative connotations, which resulted from this approach, have weighed heavily and that there is a disbelief in the ideological influences within these incidents. In our artist, the link that takes advantage of an appreciable experience of metals and craftsman techniques which have been refined over a long period, is limited to a level of aesthetic satisfaction, thus, provoking the humorous displacement of objects from one ritual to another.

Belonging to a circle which includes the major values of modern sculpture in Brazil, Vlavianos has marked his work with both vigour and refinement of spirit, thus, confirming that today, as in the past, he has a creative capacity that certainly reserves new revelations to come.

Walter Zanini
São Paulo, 1978/98

Walter Zanini was born in São Paulo, in 1925. He has studied History of Art and Archeology in European universities (1954-1962) and became PhD at the University of Paris in 1961, with the paper The painting in Ferrara and its relations with contemporary schools at the second half of the 15th century. He was a professor at the University of São Paulo, visiting professor of the Collège de France, director of the Museum of Contemporary Art of University of São Paulo and curator of the XVI and XVII São Paulo International Biennial. He is the author of Tendencies of modern sculpture (1971), coordinator and author of the General history of art in Brazil (2 volumes, 1983), besides being the author of several publications about art in Brazil. His most recent work is Vicente do Rego Monteiro (1899-1870), artist and poet (1998).