Written By, Amadeu Basto de Lima
Alberto D’Assumpção is worth mentioning. He is the son of the enigmatic painter Manuel D’Assumpção, the precursor of the surrealist trend in Portugal and an unavoidable reference of it. Starting from Archetypal Expressionism, which presupposes self-knowledge, an interior construction based on myth, allegory, and symbolism used by Alberto D’Assumpção, there is the circumference, sphere, and square compass, among other forms.
For him, Light and Space are realized in Harmony. From heavenly Harmony to earthly Harmony, but the passage is always narrow. Behind the shapes and symbols in the subtle opening of a door, a path lights up.
There are no labyrinths to be seen, and everything is clear to the viewer. But, unfortunately, the Ethics on which its interior construction is base does not allow it.
The movement is constant, projecting planes and forms in rotation or translation, in this immense mass of an expanding, synchronous Universe, in musical and mystical conjunction.
In the playful side of her color, a geometer of the painting reveals a singular characteristic of his plastic expression, implying in it what he feels with the intensity of what he intends to convey to us.
For him, an Esoteric Painter, art is, above all, a way of communicating with the Invisible, of analyzing their secret correspondences in a magical.
I would even say the initiatory way of creating a communication channel between the Individual and the Cosmos, or a bridge and through he/she is a continuous movement of common enrichment.
Of course, communication is over, and there is a painting, a piece of canvas covered in colors, a unique masterpiece of work.
If we want to grasp its profound meaning, we will have to open our eyes wide to See beyond it the Light that illuminates it and the shapes that modulate it or the hidden characters that populate it.
When analyzing, however, the specifically plastic aspect of his work, what is immediately observe the rigor, measure, and detail inherent to it. Why would one say such an orderly Universe in such a well-distributed space?
Pure Royal Art that exercises itself in secret architecture, beyond the deceptive appearances of the Visible, in a rigorous geometry only visible to those who hold the key to the enigma.
In the passage to mastery, the perfect Master passes from the square to the compass, which is expanded in the fair and ideal measure to no longer condition reason and freed thought.
From what I have been saying, it is easy to infer that for Alberto D’Assumpção, the act of painting is fundamental, of a sacred, liturgical value. Celebrating the rite in its symbolic cadence is a task for very few. Initiates it will be said. Of the authentic ones, I add.
It’s just that those who look for it don’t always find it. We need to investigate, read, cut out, collect, be attentive and finally paint after Seeing. Then, the Hope of discovering the secret rhythm of the Universe and Life, which we had already gathered in Zurara when checking among others, is enlightened, a cosmic dimension to the Discoveries, which is not always emphasized, although it is manifest.
From the Uno to the “Múltiplo,” the artist returns to the Uno, to the Light that had precipitated itself in color; the shapes are, in fact, just a simulacrum of reality.