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José Resende
My relationship with printmaking was a distant memory of my first approach to the possibility of making art. To be invited to occupy Iberê's studio and have the privilege of a partnership with Eduardo, to bring the enchantment of this first decision in the profession back to the present, was for me an inevitable reverence and acknowledgement of the teachings of Iberê himself, an unequalled example of a persistent conviction in the truth of Art that his work confirms from start to finish.
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Mario Carneiro
I arrive here and am filled with memories, looking at everything… For me, it's a kind of nest, a home. I feel very good here. I was made very welcome. I feel Iberê everywhere, his presence… Of course it brings back a lot of memories, but I have to deal with that. And the people here are an extension of Iberê: Eduardo, Marcelo, not to mention Maria. I look at Maria, and a whole life comes back.
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Paulo Pasta
The first great thing is that I am working with Eduardo and Marcelo, and it's a while since I did that. I spend a long time alone in the studio. And I liked it, you become more productive. I did about 50 monotypes, as a way of loosening up, warming up, sorting out possibilities. In the end we printed a coloured plate. After printing that plate, I really wanted to have another week here to, I don't know, as I had done 50 monotypes, do at least ten printed plates. I liked it. I liked the printed colour, I liked the superimposition of colours.
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Rochelle Costi
Printmaking was something new for me. As my working process always leads me to discovered situations and opportunities, I sought not to bring ideas from here, but to find them in Porto Alegre. Lodging in the middle of Duque de Caxias, I went down to the little shops, old ones I knew in the Borges Viaduct, in search of flat metal objects that I could use as elements for a composition. In a shop of products for the afro-Brazilian religious umbanda ceremony, I found cut-out metal plates representing instruments/offerings for the Orixás. So I took them to the studio where I did endless tests with Eduardo, who enthusiastically welcomed my ideas. I then went on a general search through those kinds of shops, often passing the 'esquina democrática' where I had met Iberê so often in the evening, and which now took me back to those days. Being in his studio, having the honour of visiting Dona Maria, using the space where he worked, gave the experience another meaning, a denser layer in the many possibilities offered by intaglio printing and the project.
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Waltercio Caldas
The images and prints came about amazingly naturally. It seemed that everything there conspired in favour of printed things. I liked the idea that Iberê knew this and took huge pleasure from that activity. Eduardo and Marcelo [both work at the Foundation's Print Studio] were perfect accomplices in my attempt to print shadows, lines, colours and words. The result was some 'paper objects'. My expectation was fulfilled, and it was a wonderful experience.
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