Born in Brazil, Eduardo Santos studied in London at St Martins College of the Arts and then spent two years at the Instituto Europeo de Design in Madrid, Spain. Thereafter, Eduardo experienced life as a photographer working in Marrakesh and Ibiza – places well known for their exotic colour, energy and sunlight.
Now residing in Sydney, Eduardo’ art practice has developed slowly by technical experiment and intuitive process. His work has a specific sense of place, time and emotion that is deliberately obscured by the format in which they are created. The landscape is real, an actual location, yet the ability to pin-point it is rendered impossible. In some ways, Eduardo’s visual language functions like memory. The imagined and the projected replaces the real.
Eduardo credits his relationship to visceral, highly textural-materials to a childhood spent in the north of Brazil, in a terrain “where the river meets the ocean” and experiences with his grandfather, an indigenous Amazonian potter and fisherman, Eduardo would mimic in the clay of the rive’s edge. The humility of simple materials; a conflation of the natural and the ‘found’; the tactility of hand-made and rough-hewn things and, ultimately, primal landscapes, all play a role in the artist’s work.
Ostensibly Eduardo’s work is minimal, abstract, somewhat graphic, yet all of it has a basis in the natural world. Close observation of physical events caused by nature – the subtle changes of seasons, a particular time of day and the formal structural elements in nature and architecture are all key factors that inform his work.
Eduardo Santos works in two distinct mediums; limited edition chromogenic prints framed between aluminium and acrylic and original oils with mixed pigment on canvas.
The chromogenic prints are on overlay of compressed rods of landscape photography, where the line of the horizon is the subject.
The oils on canvas are tactile and sculptural. Eduardo works with gravity the way other artists work with oils or ink. Gravity guides the line and pins down his disparate materials of sand, earth, paint and varnish. Each layer accretes like sediment. The dense dry texture of sand and the lumpen rivulets formed by earth mixed with paint generate a haptic experience something like standing inside a river cave.
This series is also imbued with a strong sense of place. This is not painting about painting, but an invocation of earth, sky and water influenced by desert journeys in Morocco, South America, and the antipodes.
Eduardo Santos’ work is acquired by private collectors in Sydney, New York, Los Angeles, Kuala Lumpur, London, Berlin and Madrid.