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“It is impossible in this context not to emphasise the sense of crisis in the meaning of the beautiful, throughout all Iberê’s work. It is precisely with the period of the return to figuration where this appears more explicitly: faces and bodies exist somewhere between exaggeration and drama, as phantasmagoria of skeletons and mimicry of characters, or between deterioration and degradation, like idiocy and final old age. These aesthetic hyperboles are in no way unfamiliar in an artist whose pictorial radicalism is a destiny of biography. [...]”
Adolfo Montejo Navas, Conjuro do mundo: as figuras-cesuras de Iberê Camargo (Porto Alegre: Fundação Iberê Camargo, 2012), 119.