Overlapsos, 2021
Hastes de aluminio, haste de ferro, barra de metal cromado, suporte de abajour, presilhas de papel, madeira, cabo de aço, fio e tela de nylon, fita crepe, porcelana liquida (biscuit), cabo de cobre revestido, cabo usb, fechadura de porta, estrutura de rolagem de papel de impressora a jato, suporte de parafuso, parafuso, chapa-régua de aluminio, prensa fixadora, bloco de forno de cerâmica, borracha ante-derrapante, pioneses, grafite e guache s/ papel de ceda, grafite, nanquim e guache s/ papel fabriano, pastel de óleo e spray s/ papel de aguarela/ grafite s/ papel vegetal, nanquim s/ papel manteiga, lápis e nanquim s/ papel quadriculado, posca s/ papel pontilhado, spray s/ acetato, sobre tela de linho preparada para pintura.
350 x 215 x 170 cm
In the end everything is a carbon chain
Durante o caminhar sobre a floresta notei a presença de raizes que se desprendiam das suas árvores. Essa pesquisa começa similar a um gesto de um primitivos caçadores coletores, entretanto não sabendo sua finalidade, eu apenas coletava essas raizes. Cobertas de grafite essas raizes encadeiam-me uma série de reflexões acerca da materialidade das coisas e do desenho: As árvores ao longo de suas vidas absorvem uma enorme quantidade de carbono da atmosfera. O grafite nada mais é do que átomos de carbono organizados de forma triagonal. Uma das concepções mais elementares sobre o que é desenho pode ser o gesto de imprimir algo com grafite sobre um papel. In the and everything is a carbon chain é uma série de desenhos-instalações em que busco friccionar os cânones sobre o desenho. Ao compor o desenho em que a linha se liberta da superfície estática do papel e ganha materialidade com as raizes, a superfície branca do papel curvando-se como quem sente a força do vento. Its is the paper that scratches the graphite and not the graphite that scratches the paper. A instalação que se estende por 6 metros de parede é feita de papel, grafite e raizes com medidas variadas entre 21 x 23 cm até 42 x 45 cm. Meu desejo é que assim, ocupando uma grande área, a audiência possa fruir sobre a questão central que me levou a fazer este trabalho: In the and everything is a carbon chain.
During the walk through the forest, I noticed the presence of roots that were detached from its trees. This research starts similar to a gesture of a primitive hunter-gatherer, however not knowing its purpose, I just collected these roots. Covered in graphite, these roots lead me to a series of reflections about the materiality of things and design: Trees throughout their lives absorb an enormous amount of carbon from the atmosphere. Graphite is nothing more than triagonally arranged carbon atoms. One of the most elementary conceptions about what drawing is can be the gesture of printing something with graphite on paper. In the and everything is a carbon chain is a series of drawings-installations in which I try to rub the canons on the drawing. When composing the drawing in which the line frees itself from the static surface of the paper and gains materiality with the roots, the white surface of the paper bending as one who feels the force of the wind. Its is the paper that scratches the graphite and not the graphite that scratches the paper. The installation, which extends over 6 meters of wall, is made of paper, graphite and roots with measurements varying from 21 x 23 cm to 42 x 45 cm. My wish is that this way, occupying a large area, the audience can enjoy the central issue that led me to do this work: In the and everything is a carbon chain.
Andaço
Andaço is the name given to the works carried out at Quinta das Relvas in the artistic residence Um Grão Na Asa. It results in video, installation and drawing, and has as its guiding thread the artistic gesture of walking. A foreign body that walks among the natural environment. The relationships of affections that occur between the body and space are explored as a drawing through the traces left by them.
Manifesto Estendido
Manifesto Estendido is an installation made within the Baixo Centro festival in 2013 in the city of São Paulo. The proposal was to bring a popular element of private life to the public space. The clothesline as opposed to mirrored glass buildings. The place where I made that installation goes through an intense process of gentrification. Bringing the clothesline, with its colors and movement of the fabrics, was the way I found to draw attention to this dark, gray and, on purpose, not careful place. Made in partnership with architects Ana Luisa Secco and Danilo Barbosa.
