one cannot mistake the socio-economic subtext, we must not forget to take heed of the elemental mechanics of this image. The tonal greens and the style of brushstrokes we see in the background are reminiscent of Cézanne; one of Dylan’s favourite Impressionists and one of the few artists for whom he would take time out of an otherwise uncompromising touring schedule to visit an exhibition of work. Favela Villa Candido is a piece that speaks of emotion and sensation rather than a forced reproduction of the vista that caught Dylan’s eye. His use of perspective and dimension encourages the viewer to relax into the setting, to believe that we can hear the distinctive rhythms of music from the favela, to immerse ourselves in the kaleidoscope of colours, to feel part of the community that live within it. When viewing Favela Villa Candido, one need not overthink the critique; simply be present in the moment allow the image to envelop and transport you. We are taken away from the favelas and to the coast in Grande Árvore Beachfront. Again we see Dylan’s great admiration for Cézanne play a part in the composition of this piece, through the scene played out on the right-hand side of the piece, where people gather round a table in homage to Cézanne’s famous series of oil paintings entitled The Card Players. The theme of Dylan’s unease with economic disparity may also be found in this image. In the foreground we see a well-heeled lady relying on a far more modestly attired individual to resolve her transportation issue, which may be a nod towards Brazil’s thriving upper classes being entirely dependent on the working classes for their upward mobility. The raised car bonnet hints at the need to ‘take a look under the hood’ and delve deeper into the workings to understand fully the problem.
in Wagon Master. This piece sees Dylan relax his technique and deliver a far looser style. The colours and brushstrokes have been applied in such a way as to allow an osmotic effect; the tones diffuse into each other, and the viewer’s eye is allowed to dance freely about the scene. Wagon Master also includes a nod to one of Dylan’s artistic influences; though rather than Cézanne’s guiding hand here, there is a nod to the abstractions of Lichenstein through Dylan’s portrayal of the oxen. Reaching above the oxen, however, the wagon and even the wagon master himself, is the sky. A focal point in this work, its appearance is seemingly endless. It gives a sense of movement through clouds that appear to undulate and suggest great depth, far beyond the horizon visible to us. This collection, like so much of Dylan’s other work, directs our eye to the unusual: an object, an angle, a perspective. Dylan’s unique view of the world gives us tableaus through the eye of one destined to observe passively from the sidelines. His innately human approach, combined with the path he has travelled – and continues to travel- throughout life, has resulted in a body of art that is infused with meaning and transcends language, culture and class. Dylan will not tell us how to view his work, nor what to take away from the experience of doing so, instead he remains silent and allows his paintbrush to do the talking.
Lastly, having journeyed through the heart of the city and along the coast, we come to rest in the countryside
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