Figura III (Figure III)

"Back in Brazil, the artist produced several vertical prints with sinuous features and spontaneous contours. The spools no longer seem to explode and begin an ascending movement. Mirroring what was taking place in his paintings, they project upwards from the lower edges of the design. Large and majestic, these predominantly graphic prints privilege serpentine movement. The material density has been replaced by vigorous structure.
The meticulous line of the etchings is interlaced with the artist's masterful use of aquatint, particularly in his use of lavis and of the sugar-lift process, as in Figura III (Figure Ill). In this print the spools articulate different conformations, although they still evoke the table upon which they once rested. The engravings become more limpid, charged with spontaneity, yet never losing their strong associations with the previous work and, in different aspects, with the future work that is in the making.
The greatness that the artist always aspired to remained and became a mark, even as his prints, by extension, now suspended one cycle in orden to open another."
Mônica Zielinsky, Iberê Camargo: catálogo raisonné (São Paulo: Cosac Naify, 2006), 99.