Natureza-morta 6 (Still Life 6)

"[...] The still lifes he was now producing compulsively alluded to the various technical possibilities of engraving; each in their own way, they all reflected the austerity and the solitude that emanate from their results. Strong tonal contrasts, the impact of the illuminated areas juxtaposed with the density of darker ones, the crisscrossing diagonals are among the resources exploited by the artist's prints and which intensify the strong sense of drama that radiates from them.
In their rich transitions from black to white, these works dialog with his paintings, both in terms of creative process as well as in fin al proofs. The working proof for Natureza-morta 6 (Still Life 6) is an example of this: lberê sketches the overall structure in quick lines which resemble those of his oils. In the latter, the artist also produces the skeleton of the painting in agile, fluid brushstrokes which he later buries under thick layers of paint. Similarly, in the artist's proofs, there is a greater material complexity in tonal control of light and dark tones through the use of aquatint used in the final stage of these engravings. Thus, the print takes on a process of construction which closely resembles what occurs in the pictorial. [...]"
Mônica Zieninsky, Iberê Camargo: catálogo raisonné (São Paulo:Cosac Naify, 2006), 66-67.