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Home Articles f.marquespenteado: profile

22 Apr 2023

f.marquespenteado: profile

Fernando Marques Penteado, <i>Fruteira</i>, da série <i>Mandala Disfuncional</i>, 2014, colagem bordada à mão e máquina sobre feltro industrial, crochê e aplicação de musseline pintada, 85 x 78 cm. Cortesia do artista
Works of f.marquespenteado during the 30th Bienal de São Paulo © Leo Eloy / Fundação Bienal de São Paulo

 

f.marquespenteado (1955, São Paulo, Brazil) signs his name in this fashion, without using capital letters, so common to proper names, and without showing the gender. Sewing multiple stories and voices, his embroideries have more than behind the scenes as supports, sustained by plastic bread baskets, tennis rackets and fly swatters. Postcards, photographs, belongings, drawings and even personal clothing are part of his works, which end up mirroring, in the places where they are exhibited, the artist’s very intimate universe.

In recent years, f.marquespenteado has been collecting crime and detective books, in which he underlines catchphrases and then transfers them to the mouths of fictional characters, around whom orbit clues about their stories and personal characteristics.

His works participated in the 30th São Paulo Biennial – The Imminence of Poetics, in 2012, which was curated by Luis Pérez-Oramas.

 

Sala da trigésima Bienal com paredes repletas de obras de f.marquespenteado. À esquerda, uma parede com raquetes com rostos bordados dentro delas, no centro tapeçarias, uma coluna branca, uma parede com um pano laranja que separa diferentes pinturas e pratos e à direita, uma parede preta com bordados. No centro destaca-se uma mesa com cadeiras em volta e objetos acima dela.
Register of works by f.marquespenteado during the 30th Bienal de São Paulo © Leo Eloy / Fundação Bienal de São Paulo

 

Embroydery as Memory

I have had the honor of collecting, assembling and re-presenting materials that I was able to save from the rest in which they lived on: old, hidden, dirty on the sidewalks of markets. With this gesture I reinvigorate them, I activate the reminder of their intrinsic nobility, much of this through their “original”, impeccable, astute patches – elaborated by a generation of people who understood very, very, very well the virtuous ecological circle inscribed in the production of a single piece of fabric.

Other materials that honor me with their presence present me with signs of the times, marks of the incursion of an inclement sun. Still others show signs of sweat and body fluids. Others showcase the engineering mastery of a unique model. There are many other artists like me, in this same arena of memory, seeking to honor the craftsmen of times past and thereby add the contemporary gesture to the actions of that time.

Obra de f.marquespenteado em formato elíptico feita de um cesto com um bordado colado ao centro que representa um homem loiro. A obra está apoiada sobre uma parede amarela.
Fernando Marques Penteado, Xavier Vandenbroucke [XV], 2020, colagem, bordado a mão em PVC, vime, madeira, 88 x 64 cm. Cortesia do artista e Mendes Wood DM São Paulo, Bruxelas, Nova York. Crédito da foto: Kristien Daem

Exchanging Biographies

I think there is nothing more essential and human than the frank exchange of biographies, so it is not at all difficult for me to share the stories inscribed in my house, a place that is in fact where anyone can get to know the best of me. I am always impressed by the difficulty many people show in revealing themselves, in spontaneously approaching their universes, from ideas to feelings.

 

Instalação de f.marquespenteado com objetos ao redor de uma mesa que lembra uma lareira desativada. Acima da lareira há obras de f.marquespenteado e objetos, pendurado na parede acima há quatro telas que formam um políptico feito de colagens de revistas. Abaixo da lareira há um par de botas, uma cadeirinha com uma mini-pintura em cima e outros mini-objetos. Do outro lado há uma bolsa apoiada. A parede é branca e o chão é de taco marrom-claro.
Fernando Marques Penteado, Xavier Vandenbroucke [XV] – Story, 2020collage on corkboard, paper, textiles, racket, cotton and linen thread, ballpoint pen, PVC, hand embroidery, found objects, dimensions variable. Courtesy of the artist and Mendes Wood DM São Paulo, Brussels, New YorkPhoto credit: Kristien Daem

What has changed since the 30th Bienal, in 2012?

As the strongest arm of my contemporary work is the creation of different fictional subjects (embroidered portraits), it will then be the same invented biographies, with their crossroads and exits, that will account for changes in the contemporary world as I perceive it. It is these fictional voices that begin to narrate the afflictions, the confrontations and the conquests that men and women have been acquiring, when they fall and then stand up again, especially in the territories and values where sexuality and gender are inscribed.

 

Obra de f.marquespenteado que é feita de uma raquete cuja rede foi substituída por um bordado que mostra uma mulher olhando para o céu vestindo um macacão escrito Fury, palavra que também aparece no céu rosa atrás dela, que parece ser uma atendente pois leva uma bandeja de bebidas acima da sua cabeça.
Fernando Marques Penteado, Maximo Balduccio [MB], 2022, raquete, linha de algodão e linho, caneta tinteiro, PVC, bordado à mão, 68 x 23 cm. Cortesia do artista e Mendes Wood DM São Paulo, Bruxelas, New York. Crédito da foto: Kristien Daem

Weaving Versus Embroidering

Here, and without any pedagogical ambition, I have to clarify that my work does not imply “weaving” something: I was never interested in looms nor in the severe crossing of threads that is required to form a woven piece. My work celebrates embroidery, which is a topical technique: in short, something is added to a fabric or canvas, either adding thread to the work or removing threads from the fabric to create patterns.

 

Fernando Marques Penteado, [OE] Ólafur ErduArbjörnsson, 2016, bandeja de madeira com decoração de plástico, superfície de plástico bordado à mão, prateleira de madeira, livro, porta-perfume, 105 x 74 x 24 cm. Cortesia do artista e Mendes Wood DM São Paulo, Bruxelas, Nova York. Crédito da foto: Raphael Fanelli

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