Deep in the soul, rest signals, icons, signs, and other archaic marks. Sometimes, however, they rouse, attain to life, and reveal themselves. And so emerge on the walls, in the wet cement of the sidewalks, in pieces of paper that are next to the telephones where speakers write unconsciously scribbles, on the sands of the beaches, rocks, everywhere. These are stony manifestations, the same as our prehistoric ancestors did to communicate, such as hand stamped soaked up with blood on the rocky walls of the caves, or the bison painted with charcoal and ocher or inscultures stelae of the Celts.

And so these are the series of paintings by Plinio Palhano. Materially the paintings are stamped with arrays of cow leather soaked with paint, as the hands of the ancient artist.

Analytically they are references to the ox, as did Picasso in Guernica, which he cites pictorially. The iconography refers to the war of flesh and the invocation of the warrior. The war as the image of the stony ox is manifested on the canvas, the invocation of culture as signs indicate African religious beliefs and rites.

This is an impressive work, the work of those who always renew themselves, integrant of the generation of great artists of Recife. A perennial professional who represents the most enduring traditions of Pernambuco art: painting.