Nada, 11.8 x 8.2" pencil on vintage paper, Eduardo Recife, 2008
Everything Will Be Just Fine, 20 x 16" wood panel, Pencil/Acrylic, Eduardo Recife, 2007
Greed, Illustration, Eduardo Recife, 2007
The Truth, Illustration, Eduardo Recife, 2007
It is an absolute delight to become involved with the work of this artist. Eduardo Recife uses imagery in a way that really translates just how fluid the stream of the mind can be, whisking you away by the vibrant emotions that permeate through color and collage. His drawings seem to be structured by an unstable rhythm; fine lines that build upon one another create a massive space for the momentum of his messages. I have maintained a special interest to the creation of fonts, especially with my own, constantly customizing size and style to delicately acknowledge the voice and the purpose of words. The notebooks I keep have served as the documentation of how these decipherable shapes have evolved with my aesthetic experimentation and emotional appetite.
Observing Recife’s drawings, I see a correlation between the flow of his compositions and the atmosphere that resonates from his words. All of it is very much alive and circulating as an eternal thought, encouraging even the slightest of feeling from the depths of our consciences. With works such as “Nada” and “Everything Will Be Just Fine,” I feel as if I am taking the position of a compulsive nonbeliever. The imagery is what parallels and contradicts these coded ideas, by providing a visual outcome that almost seems surprising or hopeless, and sometimes perhaps the opposite of what could possibly be expected. “Greed” is what really revs the mental motors of interpretation. The text is stylized in a way that is unavoidably charming and yet crossed out with a simple line, as a weak or sorry effort to abolish a negative thing. Its encompassing qualities are wonderfully illustrated with the intestines that seem to suffocate the face, decorative objects that clutter and adorn the body. “The Truth” displays an entanglement of many things, which I feel perfectly demonstrates its potential quality to be genuinely complicated. Recife’s work continues to represent an elegant conflict between words and ideas whose profound presence cannot be argued.