“If the symphony of colours does not work”, Milhazes remarks, “the seduction ends.” Milhazes, again: “I am no longer concerned about visual dizziness. I am more concerned with making the eye spin round.” Her pictorial discourse exacerbates excess. Her Works are puzzels, spirals, confusion, vortices, a gathering of dissimilitudes, foliage. “When I thought about creating rhythm”, she comments on one of her paintings, “the image of Mondrian’s Boogie-Woogie came to mind as something with an accelarated rhythm in which the eye cannot keep still”

Herkenhoff, Paulo. Beatriz Milhazes, The Brazilian Trove. Beatriz Milhazes. Birmingham: Ikon Gallery, Birmingham, AL: Birmingham Museum of Art, 2001.

“The work of Brazilian painter and collage artist Beatriz Milhazes treads a fine line between the cerebral (and occasionally even visually austere) impulses of modernism, and the untutored, celebratory, colour-saturated excess of folk art as it spills in the direction of carnival.”

Glover, Michael. “Rio Azul, Beatriz Milhazes, White Cube Bermondsey, London, review: Visually seductive, slightly vertigo-inducing.” Independent, 18 Apr 2018 (Article)

“Ms. Milhazes’s widespread appeal lies in the fact that she is a “glocal” artist, someone whose work is grounded in the international language of modernism while also firmly rooted in her own place and time.”

Kino, Carol. “Modern Motifs, with Echoes of Brazil.” The New York Times, 26 Oct 2008: 22 (Article)

Below you can have access to the bibliography of the artist:

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