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         A long time ago, when the sculptress Ana Guitel Nigri moved to the artistic geometrism, I suggested, in a text in which I analyzed her work, that her art was increasingly getting closer to the new-concretism. However, the so called geometric art, in its fast evolution, from the middle until the end of last century, has been assuming in different phases such an exaggerated prolific intellectualism that ended up confining this type of art on a hard edge. In other words, at an extreme rigidity of the language, in which the arid thinking process did not give room to the feelings, the spontaneity and the emotive expression of the human being.


      Anyhow, the dream and the desire of expressing the life’s essence were always the elements that characterized the artist Ana Guitel Nigri. And not only by searching for themes in a surrounding reality, but through suggestions of non-material things, though these things exist and are life conditioning. Things that every human being can realize, but not touch. By the way, I remember that, in a conversation, once she told me that her will was to express immaterial and imponderable realities, like flying, not in the sense of a bird flying, but the flight itself, not mattering which thing- bird, plane, spacecraft, smoke, thoughts…-materialized in its existential and untouchable essence, like all the abstracts substantives, that are able to trigger the inspiration of the artist. 


        Well, so now she surprises me with a work series made from a metal plate or from cut wood that, despite their thin and ethereal characteristics, spread their own spaces, suggesting a flight idea. They are sculptures designed to giant places, since their conception is also magnificent. At this pace, it is much likely that Ana is carving, in the tough field of the abstractionism, a new possibility of exploration after the hard edge, which I would call Sensitive Geometrism.  


      The artist explained me that by the time of her first project, when she cut, unfolded and articulated the metal plate, putting it in three dimensions, she realized that, from now on, her sculptures have become “the own life, that starts in two dimensions and stretch with the passage, going beyond death.”


        Anyway, the set of artistic works has such sublimity that looks like they are soaring, maybe very close to reach the other side, who would know?


Pierre Santos

Member of the Brazilian and International Associations of Art Critics

Professor of Art Critic at EBA-UFMG and E.Guignard-UEMG


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