The Ideal in the Real

The Ideal in the Real

Rafael Araujo explores the platonic ideals of beauty and truth as found in the symmetrical forms of nature

n autodidact, Rafael Araujo's work is the outcome of years of endless persistence and dedication; working entirely by hand using traditional architectural drawing tools, Rafael has plunged deep into the world of tridimensional geometry in search of the platonic ideals of beauty and truth, as found in the symmetrical patterns and forms of nature.

What inspired you to develop your ability to draw and work in this manner?

I began very early on in my life, and developed my skills completely on my own. The geometry of the surrounding universe called strongly into my then young spirit, along with the principles of beauty and precision I discovered in the musical harmony and counterpoint of composers like J.S. Bach.

The initiation of my intellectual and aesthetic search began when I encountered the 20th century Dutch graphic artist M.C. Escher, who made mathematically inspired woodcuts, lithographs, and mezzotint. Above all, my main source of inspiration has been Nature—from the very beginning I’ve wanted to achieve the perfection I see all around us, in what is left of the Natural world…

What tools and techniques do you utilize to create your works?

I work with a traditional architect’s drawing table (I’m an architect myself), along with squares, a compass and protractor. I draw with pencils and rapidograph pens (Indian ink), and use mainly acrylics for my paint.

I learned using the trial and error method, but from the beginning I’ve worked to explore themes within the current comfort zone of my skill level; I’ve found that although it takes a whole lifetime to become knowledgeable, you must work with all you have at hand at the moment in order to gain proficiency, and continue growing and developing.

And how has your process developed over time?

I’ve become more skillful, of course. Also, parallel to my drawings I’ve become prolific painting landscapes on acrylic and canvas —this work is like a completely different art form, as if done by another person— and through this I’ve learned how to utilize paint and color, which has become a blessing when applied to my geometrical work, where you must know well what you’re doing before you dare to stain a 100 hours’ work of lines and calculations with a watered acrylic layer, as can be seen below:

The Golden Ratio plays a central role in your work—can you say a little about this?

Basically, the math behind the golden ratio is very complex, to say the least, and I am not a mathematician, unfortunately. However, the golden ratio also works wonders in terms of proportions—these proportions can be drawn and worked with using regular drawing tools, which allows me to utilize the ratio’s fundamental properties in my works.

Below you can see how this process unfolds, as applied to the ‘creation’ of a shell by means of the golden ratio:

What is the creative process like for you while you are working?

I see myself as a ‘geometrical medium’. I (nowadays) don’t think very much while I’m working—I do a few brief sketches, and then I ‘go in for the kill’. I’ve found that when you’re in tune with what you’re doing, all fits in its place… and this is how I would define my idea of perfection: ’when all fits in its place’.

What role does this idea of perfection play in the overall vision for your work?

I live in a personal quest for ‘platonic perfection’. I’d love to be able to convey the idea that there is (among infinite others) a kind of beauty that belongs exclusively to what is perfect, which is perhaps not too different than our search for God… and so perhaps, mine has been and continues to be a religious quest – and I didn’t know it.

This being said, I’d like to share a final image:

Do you have any current or upcoming projects you’d like to share?

I work nonstop. Drawing inspiration from the above depiction of butterflies, I’m now trying to create something more ‘ethereal’. This is my first sketch: