The artist’s recent production occupies the two rooms of Millan, with unseen works – excepted of a painting on canvas exposed in that show that was the genesis closest to the current works: an important connection, since it concerns a work “Fruit of methodical and lived study”, in the words of Brito.

The show is composed by nine canvas on the ground floor and paintings on paper in the mezzanine: five in large format and ten small. In spite of still keeping an introspective feeling and at the same time an affective and reflexive conviviality like Volpi and Morandi, the paintings of Paulo Pasta become a more decentralized space. According to Ronaldo Brito, “the canvas that was coming from inside, enveloped in a certain aura, bringing with it the experience of the past to authenticate it, now comes almost to the surface.”

In the fluidity of this new mobility, the same elements already explored in the previous works – crosses and beams – acquire greater resourcefulness: “they become agents of the uncertain geometry of the world of life”, he explains. The contemporaneousness and firmness of these paintings at the same time operates by the essence of a peculiar chromatic reasoning. “The colors come closer and avoid each other”, Brito writes, “they ensure their identity almost by contagion with each other. When we can not define them, the tones are distinguished”. 

Absent the logic of contrasts or gradations, painting gains an open mobility, conscious of the dynamics of the world – able to enjoy gravity by suddenly fixing the observing gaze around its vertical axis and still escape from the complete apprehension.