‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
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Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
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Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
‘The most Brazilian aspect in my work is the freedom of putting together all different elements and creating my own context without fear.’
Since 2004, abstract artist Beatriz Milhazes has constructed site-specific installations, from the façade of Selfridges Manchester to the Art House Project on Inujima, an island in the Seto Inland Sea of Japan. ‘O Esplendor’, at the Turner Contemporary in Margate, is a typically grand interplay between art, architecture, and the natural environment. Inspired by both the modern collages of Henri Matisse, and stained glass windows of the Chapelle du Rosaire de Vence, it is a meeting point of land and sea, the horizons and shores of her home in Brazil, and Britain.
Though first designed for a museum in China, ‘O Esplendor’ is one of few works in Maresias that really embodies the exhibition’s stated intentions. Named after the ‘salty sea breeze’ that is part of Milhazes' everyday life and practice in the coastal city of Rio de Janeiro, Maresias is more a chronological survey of the artist’s career. Environments - local and global – aren’t mentioned much again until the last room, in the botanical gardens that surround her (first) studio.
Like the Window with which it opens, the first rooms are the most compelling. Milhazes was a leading figure of the Geração Oitenta (1980s Generation), a Brazilian modern art movement which challenged the restrictions of ‘austere’ Conceptualism and the country’s military dictatorship, which would fall in 1985. As influenced by the Anthropofagia Movement of the 1960s, Milhazes’ work speaks to how Brazilian culture ‘assimilates’ plural influences, many of which were products of Spanish colonialism.
In recent interviews, the artist has acknowledged more indigenous influences. ‘Fleur de la passion: Maracujá’, painted in 1995-1996, features the ornamental drawings which adorn the faces of women in the Kadiwéu tribe. Still, European influences run through her works and, here, their captions. ‘The Baroque is in my blood,’ she says.
Bolts, doors, and arches from rural churches, and grand urban architectures, can be found in her early abstract paintings. Burnished golds and bronzes, the colours of decaying Catholic icons, cut deeper than the vibrant tones for which she is now best known. Ruffles and rosettes – presented as precursors to her later circles – reflect her interest in both royal Hispanic costumes, and floral fabrics found in Rio’s markets and Carnival parades.
Histories are layered into her practice too. Collages from the noughties employ more ‘everyday’ media like sweet wrappers - works which are quite literally front-of-the-mouth – here evidence of Milhazes’ interest in ‘both high and low culture’. In her early works, we see lace applied directly to the canvas. More interesting is how she interprets these forms in paint, and further, moves towards her now-signature ‘monotransfer’ process, drawing and painting her own motifs onto individual plastic sheets, then layering them onto the canvas, adapting collage for acrylic paint.
Later rooms carry the artist’s large-scale abstract canvases, presented as more complete workings of these earlier ideas. These are used to reflect the artist’s own rise to international recognition, following her first solo exhibition in Brazil, and representation of Brazil at the Venice Biennale, in 2002 and 2003 respectively.
Beyond Matisse, the artist vocally borrows from the leading abstract painters in European modernism and geometric abstraction: Sonia Delauney, Bridget Riley, and Piet Mondrian. (Her large-scale works, circles, and reference to natural cycles, seem a little more aligned with Hilma af Klint’s spirals.) Tarsila do Amaral - a leading painter, draftswoman, and translator of modern Brazilian nationalism – is once mentioned, but without context.
Some is quite literally lost in translation; Milhazes’ poetic, descriptive titles in Portuguese often have no equivalent in English that evokes the same meaning. On the surface, curators Melissa Blanchflower and Emma Lewis – and the artist, as present as they are in their own words – have curated a perfectly breezy summer exhibition.
As Milhazes' first public UK exhibition for over twenty years, Maresias is understandably conscious of legacy. But this career survey also reinforces dated trajectories – like the simplification of forms in abstract art – as a sign of progress. Indeed, Maresias is not intended to more progressively relocate the artist within more transnational networks of art – it speaks more of ‘assimilation’, than interpretation or appropriation, of Western European influences.
The vinyl offcuts from Milhazes’ ‘O Esplendor’ carry over into the activity table of Turner Contemporary’s Clore Learning Studio. A space which often engages with the local community, it currently hosts Rising: Portfolio x RISE UP. CLEAN UP, an exhibition celebrating young environmental activism and art.
There a seagull, sculpted by the ‘6-10 year old’ Valentina Stenlake, snatches a packet of Paloma tissues – whose patterns recall Milhazes’ own. This is as close to Margate’s local environment that Maresias ever comes.
Beatriz Milhazes: Maresias is on view at the Turner Contemporary in Margate until 10 September 2023.
Make sure to collect your Yamos on the gowithYamo app when you visit!
