"Her sensitive prints
convey the impression of sincerely and clearly defined artistic aims of high
quality" Dolf Rieser, D.S.C.R.E. - 3.8.1970 - Brazilian Embassy
Exhibition - Catalogue - |
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"The Exhibition of etchings
confirms one`s appreciation of Inęs Benou`s technical skill as well as her
highly personal form of expression. In these prints one senses a language
based upon her Brazilian origins and expanded by contact with the artists of |
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"Among so many excellent printmakers these days, the work of Inęs Benou stands out for special qualities of colour, texture and design. "City by Moonlight" is one of a number of works which show a wide range of feeling from the incisive line shown here to the broad, sweeping gestures in others."- Michael Webber - Arts Review 25.3.1972 |
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“Many times Ines made use
of signs which never were ornamental but were created always in function of
her artistic vision. This is the case of her etching “silver”
which was awarded at the Lizetta Levi A.I.C.A. 27-03-1974 |
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"Inęs Benou an artist profoundly concerned with the human being, seeking to find him in her visual expressions, from the city to the totem. Inęs is an archeologist of the form, in the sense of the search of the human in between its various manifestations, which the means of communication put at our reach in these days." Jacob Klintowitz - Jornal da Tarde 5.4.1974 - Săo Paulo |
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"This former student of
mine, Inęs, as many others, presents her activity showing ingenuity and, what
one should mostly take into consideration, the persistence to produce. Her
exaltations of images are convincing, validating the "forbidden"
means of the classic printmaker. P.M.Bardi - 2.3.1983 - invitation of the
exhibition of the |
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"Inęs Benou characterizes,
above all, a sensitive artist. In this exhibit the artist achieves to create
clear atmospheres in the structures and the colours" Ivo Zanini - Folha
de Săo Paulo 11.3.1983 |
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"Inęs always keeps her
personal language in all her means of expression. In most cases, the artist´s
theme is the exuberant nature. The impact of the emotion is very direct, but
the emotion is always dominated by a very refined technique. This is a
vibrant and creative exhibition which inspite of its technical and thematic
variety, preserves its unity, because it transmits through each work the
personality of the artist" - Lisetta Levi - Member of A.I.C.A. catalogue
of the exhibition Sesc - 6.6.1984 |
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INES BENOU, THE LYRE AND THE MINOTAUR - "Whilst a handful of artists is entangled in a
labyrinth of conceptual and intellectual anguishes and struggles attempting
to adjust themselves into a definition - would their language be modern or
post-modern? Minimizing or maximizing? Performing or parabolic? Metaphysic or
metaphoric? - it is comforting, and even becomes a relief to enter in the
colorful oasis of Inęs Benou . One discovers in it an especially sensitive
path, where results flow from one work to the other always picking-up our
attention towards a quality of beauty which knows how to gracefully suggest
rather than to impose. And due to this, gradually involves us in her
enchantments, demonstrating that her technical skill is at service of a
search for fine harmonies, slightly touching the search of a spirituality
mostly concerned in its immanence, while entirely freed of plastered
doctrines. Living in syntony with the lyre of Apollo, the work of this artist
passes along the labyrinths of the Minotaur." - Carlos Soulié do Amaral
- 2005 |
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“The prints, collages, watercolors
and paintings of Inęs Benou express sequential exercises of a sensibility
committed towards an integration of color, texture and form, in a laborious
research of the technical process which transforms the idealized image into
the realized image. In this procedure, in a poetical manner, elements of
fluency emerge, with colors and masses either exploding into pieces, or
agglutinated through entanglement, seemingly reminding a time of fragmented
spaces and inducing the observer to reflect on the moment in which we live -
multicultural, multiracial, global, computerized and perhaps nostalgic of the
lost simplicity. In the most recent works parts from the suspended printed
base protrude, creating through the inflection of the light, shadows which
interact on the whole, surprising webs and textures with the mobile mystery
of this unexpected, seamless element. Carlos Soulié F. do Amaral - ABCA -
AICA - 12.2005 |
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“The works of Ines have playful dimension, precisely due to one
of her principal characteristics of mixing techniques in different ways.
Therefore, the prints as well as the watercolors, acquire the interference of
collages with the purpose to create new visual effects, which mix the
playfulness with the technical control. .In this context, the cosmic series
obtains a creative dimension of delicate visual effects with collages
interfering on the etchings. There is no compromise with the representation
of reality, but with the improved practice of a pleasant dialogue with the
observer. The effects obtained with the mentioned mixture of techniques,
allow two successes: for the observer more acquainted with the artistic
making who seeks to verify how the effects were achieved, trying to imagine
the resources applied in the print of the metal plate as also the creative
integrations and interferences of the collages in each work. In what concerns
the watercolor, the collage gains a greater meaning of visual freedom. The
lightness is a trademark with cut-outs appearing on the watercolored
background without excesses, in a manner that shows that one is in the
presence of an artist which believes that the learned technique exists to
achieve a visual cleanliness. With exhibitions in Brasil and abroad, achieves
the artistic maturity in a process of constant search to eliminate the
superfluous. This means trying to reach the visual essence in each work, which
appears to carry in itself the message that simplicity is the main purpose
that every artist tries to achieve To attain this, the lightness is essential
- and it is present in the majority of Ines`works. The progressive economy of
resources proves how art from the start is made by controlling two essential
elements: the form and the color. Using them, it doesn´t matter if the
development of the subject is nearer to the abstract or to the concrete. -
Oscar D'Ambrosio, 01 - 2006 . “The prints of Inęs Benou
are the results of a conscious
directive acquired during years by the artist, each time more
distant from the traditional forms of painting and ready to propose states of soul
within the freedom of trace and of color. The trajectory of this artist
acquires the lightness of the chromatic fusions, subtleness of tonal
selections, with a “plus” of lyricism to the taste of the
enveloping nature. Through etchings with collages, her stylistic personality
turns more perceptible. The color incorporates itself
outlining in sober poetry, naturalistic motifs only suggested, as if they
were whispered. An aspect that immediately
imposes itself in the art of these prints is the autonomy of the technique. The color, as if blown through
the lightness of touch, appears not to wish to restrain its breathing. Her light compositions, in soft
tones, are found in an atmosphere of a dream full of poetry, leaving a bright
memory of a kind of smile of a work achieved in state of grace. The image evolves in beauty,
plenty of suggestions for the spectator and, in a particular way, to the
artist herself. The prints numbers III e XIII of the “Cosmic”
series, donated to the Museum of Art
of the Săo Paulo Parliament, are the result of an intrinsic sensitivity
plenty of lyrism.” – Emanuel von Lauenstein Massarani
– 02-2008
" Inês Benou – Anthology The art of printmaking fascinates me. Marcello Grassmann once said, that engraving is the "art of repentance." This is an adequate definition if one thinks that the engraver (particularly the one who works with metal matrices) often draws and redraws the copper and takes for each new phase his "proofs of state" - superb collection of originals, since they are unique engravings. I have always sought and valued such "proofs" with renewed interest, since they constitute a kind of engraved "testaments” and witnesses of the meticulous work of this professional of the arts. In addition of being a watercolorist and painter, Ines Benou dedicates herself with care to the engraving in metal, having acquired excellent training abroad and a lot of experience here. It is a magnificent work, of subtle filigree, sought in its perfection with untiring commitment. She herself prints her engravings in her studio through an admirable effort. With a reserved temperament, her discretion and delicacy are immediately evident upon first contact. In a certain way this is reflected in her work, which is contained and introspective. Ines is as quiet as the ambience of her studio. In the house there is a delightful garden, ideal for long conversations or moments of contemplation. Ines Benou masters with tranquility the complex art of watercolor, which, unlike the engraving, does not allow touch-ups but also reveals the lightness of the line in subtle veils. More recently the artist has devoted herself to encaustic painting, a technique that goes back to antiquity (the Greeks and Romans used it extensively in their paintings) and which consists of the use of hot treated pigments and wax, producing the effect of translucency in clear proximity to watercolor. It can also be carried out in cold, with wax diluted in turpentine. This exhibition is an anthology. It brings together some of the best moments of the constant work of a dedicated artist who has an interesting route and an incredible willingness to experiment, always with originality and competence. Antonio Carlos Suster Abdalla, Curator 03-2017 " |
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