In this artwork “Anagnórisis“, the artist reflects on recognition. Aristotle used this term in his Poetics to refer to the tragic hero’s awareness of a mistake that he himself made in a more or less remote past and that led him to present perdition, so this artwork invites us to a cause-effect reflection on the mistakes we make throughout our lives and that cause effects in our present. So, recognition, in the literary tradition, is associated with this tragic dimension. The place in which the spectator places himself when looking at this painting is the same as that of the tragic character and is not reflected in the contemplation of error but in the unbearable perception that his moral integrity was shattered by his own act or judgment. Biblical texts, for example, in their kaleidoscopic visions of divine morals, contain many moments when men are often confronted with the fruit of their weakness. The fraticide does not admit that “my wickedness is greater than that which can be forgiven” (Genesis, 4.13), so this work of art gives a plastic dimension to a profound literary and human reflection.
Jaime R Ferreira was born in the medieval village of Santo Estevão, in Chaves, in 1962. He had master Jaime Silva as a teacher at the National Society of Fine Arts, what allowed him to join his individual path of contact with other countries and cultures with the world of arts, but it was in Paris that he really discovered painting. He has participated in various solo and collective exhibitions since 1999, including: “Beyond instinct” (2020) at Forum Grandella; “Tell me a story” (2020) at Casa Mantero, “The disturbing sense of things” (2019) at Espaço Santa Casa, “Maybe a Strange World” (2018), “Liquid Traces” (2015), “Retrospective” (2012), “Casualties” (2011) at Casual Lounge; “Convergências” (2018) at Bagg Gallery; VI Bienal de Culturas Lusófonas (2017); OLH`ARTE – Collective Exhibition (Maia, 2014); “Complemento” (2002) at Bento Martins Gallery; “Memórias de Santo Estêvão” (2001) at Art Gallery; “Olhar Carnide” Exhibition (2001); “O Mito, o Sonho e a Luz ” (2001) at Comuna Theater; “Mutação II” (2000) at Carnide Theater; “Mutação” (2000) and “Papel de Parede” (2000) at Tejo Bar; SERVARTE – collective (1999), among others. He was also included in the PÁTEO das ARTES collection (2002) and, in 2017, collaborated with the SUBVERSA Magazine (2017).