In 2025, Idalécio returns to Cruzes Canhoto with “Calendas” (Calends), an exhibition where one can appreciate fifty sculptures that the artist created in the post-pandemic period and thirty paintings made on the back of old calendars from the metallurgy plant where he worked for most of his life. In both cases, the artist’s more intuitive and primitive side is evident. The calendars served as a base to clean the brushes used in his more serious paintings, but ended up serving as a receptacle for ideas and experiments in their raw state. In the case of the sculptures, the artist used only an axe, a lumberjack’s saw, a hammer, and spray paint as tools, which gives them an appearance that is crude and rudimentary, and yet innocent and picturesque.
In the Calends, we find ourselves within the context of the universal history of all that has been created, while something new and mysterious is announced. What will this 73-year-old visionary creator still have to reveal to us in the future?