The sculptor Stella Mariz shows her potential prepared for many years, in one of the most dense means of expression: sculpture.

 

When speak about preparation, I mean studies. Because I don't believe only in talent for talent. That exists, of course, but when combined with the day-to-day learning, the exchange of information, the study of technique, in short, that precedes emotion. For this, Stella Mariz faced numerous courses in Brazil and abroad, such as those that occurred in the cities of New York and Alexandria (Virginia) in the United States.

 

All of this has to do with her training and her natural vocation for a three-dimensional work. Sculpting for fifteen years, has a special interest in the human figure and anatomy

And this is one of the characteristics that most attracts the viewer's gaze towards his work. Stella Mariz does sculpt the human figure, yes. Men and women intertwined while together, bitter when alone, in a symbiosis of impact and, in fact, the essence our very society. Nothing is free in this retraction. Choosing an expressionist language, she goes, or tries to go, to the heart of the drama of each of her characters, capturing the dramatic gesture that are not only on the outside, but in the inside, as if the artist is stripping them in their act of creation.

 

A good sculptor - and Stella Mariz undoubtedly is - looks to the materials for a more expressive medium to convey her message. This is what she does using sometimes bronze, sometimes a polyester resin, using dark patches in this last one, sometimes trying to elude the viewer's keen eye but to awaken it to what most fascinates her: inner conflicts. Her works has a lot to do with the world around them.

Geraldo Edson de Andrade

Honorary President of the Brazilian Association of Art Critics