The landscapes by Canale create certain ambiguities. They are impressionist, keep the expressionist gesture and also, a pictorial formalism. These landscapes constitute a proof that Cézanne was right when he defined human perception as a source of equivocations. Canale denies the mistake. She faces the contradictions conceived by her painting. The form is never defined by a brushstroke. It appears through the encounter of the accidental configuration of the paint and an attempt to organize this territory in which sky and sea are intermingled. “I dilute the image until we have the impression that it arose there”.
Rio 40º, from 1987, is a landscape full of strong tones, with much substance. The perspective is built through successive planes, merging an Euclidian view with an aerial one. The result is an intense dimension, which, at the same time, presents the material and an overfly in the pictorial field.
Carmen S. G. Aranha