For the second exhibition by João Queiroz (Lisbon, 1957) at Galeria Vera Cortês the artist presents a series of recent works produced between 2016 and 2017. The show consists of sixteen paintings (oil on canvas, equal dimensions), all of them variations of the same landscape. During their production process, Queiroz wondered about the idea of limit or boundary as you can read in the text that the artist wrote on the occasion of this new exhibition at the gallery:
Brentano claimed that whenever a blue surface was in contact with a red surface we would have to infer that the line between the two would be both red and blue. Thus, we could avoid Bolzano’s “monstrously arbitrary conclusion,” which claimed that the boundary line was either red or blue and one of the surfaces had no limit.
Charles S. Peirce contemplated with some perplexity the limits of an inkblot on a paper sheet, and speculated that “the logic conclusion is that there are no boundary points.”
Centuries before, Leonardo da Vinci, mused about the separation between water and air on the surface of a lake, writing down in his notes that “it must be a boundary that is neither air nor water.”
The jury is still out in what concerns the long debate on the boundary, an issue that brings together philosophers, mathematicians, and painters alike. This is a question that, in the universe of painting, we can find in the smile of the Mona Lisa, in Caravaggio’s tenebrism, and in the transitions between Mark Rothko’s colored fields.
When creating these paintings, I took into consideration the issues that pertain to the notions of limit, of boundary, of passage, of obstacle, of the wall, and of porosity. They are a whole made from two separate parts: one is earthly, mineral and tough; the other is plantlike, arboreal and permeable. They owe as little to Geology and Botany as the painted squares owe to Geometry.
– João Queiroz, September 2017
Galeria Vera Cortês (press release)