The strange sense of delirium that has come to characterise the Brazilian artistic imagination is indexed in unsettling spaces of sleek interiors and elegant plant forms. For Berliner, the two dimensional actuality of painting does not prevent his interactions with a characteristic surrounding; it acts as a surrogate for all manner of experiences. Painting at intervals outdoors, gives way to changes that reveal contradictory shifts in perception that cause the artist to revaluate the pictorial event as it is happening. A dog decides to laydown before moving again, the adaptation of the action resulting in quick changes (Perna (Leg), 2009). The event, and any memory of it become fused and even inseparable. Here painting is merely residual, an invention that relies on human consciousness, and more importantly on its limitations.

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