Statement

I would define myself as an artist pragmatist and my art as public art. Public and experience are the theoretical materials that guide my work. Both concepts, when brought into the context of artistic production, allow me to create works that are deeply connected with the ways in which societies build their daily lives. These connections can assume the form of social practices or collective experiences. Using this approach, I’ve been trying to build artistic contexts in two complementary directions of artistic action: collective art experiences and more individual works of art.

Regarding collective art experiences, I attempt to identify the different memories of experiences contained in the place, I want to intervene artistically, which almost always turn out to be invisible to the holder, through installations or performative concerts. These experiences are almost like twisted mirrors, in which the audience can participate in the public art, helping them to recognize their personal value, or refuse to accept the invitation. As behaviors are often invisible to individuals, my practice aims to create self awareness within the community, by using both collective experiences and individual artworks. The collective experience encourages the audience to engage with the installation and participate in the performance, but also allows them the freedom to reject the invitation. I try to engage communities in dialogue and stimulate interaction while drawing on experiences derived from individual and collective memories. Utilizing this approach, I create events and artworks to provoke a reaction from the community. I then observe their interaction with the event or artwork and the resulting personal introspection. I produced works such as these in Brazil, especially in Salvador de Bahia, and in Italy, especially in the Trento region. I am currently organizing a collective performance in Paris, in the form of a place-making experience.

Regarding my individual works, I attempt to reveal social practices and, working with and interpreting the gaps left by them. By social practices I mean the ways of life, routines, values, beliefs and dreams that are present either in the dialogue between people, their cognitive processes and their actions, or social material artifacts that make and model our lives. The empty spaces are physical material that I transform into art. Among the social material artifacts, I’ve been focusing my attention on floors in public places, through which I can express some social practices artistically. To give body to these empty spaces, I use different materials and media. I’ve been mainly exploring cement, aluminium, paraffin, silicone, performance and video art. But I also interpret the empty spaces with plaster, clay and engraving. This explains my fascination with, and love of, sculptural relief. Finally, I always try to work in historical contexts, where the empty space and traces left by the social practices inspire and stimulate me to create. With some of these works I recently won the main art prize of the state of Bahia in Brazil, (2013), which allowed me to participate in the Bahia Art Biennial (2014), as well as being invited to join the international collective exhibition in Venice, OPEN 17 (2014) and to be the artist invited by the Contemporary Art Museum of Rovereto and Trento (MART) for its Contemporary Day in Italy 2013 edition.

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A arte para mim é o lugar da coisa pública por excelência. É, portanto, diálogo, interação, experiência. São por estes repertórios de práticas que eu me movo, bem como me movo para construir ocasiões e obras que revelem tais repertórios e que os estimulem a seguir fluindo e se reconstruindo no curso da vida, da micro-história e da macro-história. Nos repertórios de práticas estão contidos os artefatos cognitivos, afetivos e materiais de um povo. Mas também está contidos o outro. O outro que passou, o outro que está passando, o outro que ainda vira. E a mim mesmo.

Venho buscando construir de ocasiões de arte para que repertórios de práticas emirjam por dois caminhos: experiências de arte coletivas e obras de arte mais individuais.

Nas experiências de arte coletiva, busco problematizar os repertórios contidos no lugar, que quase sempre acabaram se tornando invisíveis, por meio de instalações ou concertos performáticos. São quase espelhos retorcidos, no qual o público pode se tornar público de arte, público de si mesmo ou se recusar a assumir tal convite.

Nos trabalhos mais individuais, venho buscando revelar ou trabalhar com estas mesmas práticas a partir dos vazios deixado por elas. Estes vazios são para mim uma não matéria física que se transforma em matéria de arte. Para dar concretude a tais vazios, uso diferentes materiais e suportes. Venho explorando, principalmente, o cimento, alumínio a parafina, silicone. Mas gosto também do vazio que pode ser colhido com o gesso, argila e com a gravura. Por isto, o baixo-relevo me fascina tanto. Além disto, em minhas obras tento sempre trabalhar em contextos histórico-temáticos cujos vazios deixados pelas práticas de uso me inspiram e me fazem mover.

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