My works on paper are experimental.
I usually work with artisanal
or recycled paper
that I make at home.
These works are studies of gestures
and reworkings of History.
Fire, ink, marker, acrylic on Nepalese paper, 2019.
This work speaks to the album Trama by Antonio Dias (1979). The noun “acordo” means a deal, an agreement; as a verb, it means “I wake up.” In this series of paintings on Nepalese paper, I use the word in both its meanings to mark the 2016 impeachment of the Brazilian president Dilma Rousseff. I chose to mark the paper with fire as the beginning point in creating a round map, fire being the opposite of the water-based process used in artisanal paper-making; it also brings something of a surrealist perspective – which Dias so clearly avoided – to the process. I chose a round format rather than rectangular to accentuate the frames' lines, and I use drawing/painting to emphasize the “self-making” of the “map.” Each map has paths of ink and points of paint and pen. I use the conversation between Brazilian senator Romero Juca and businessman Sergio Machado, which became famous for exposing the political plot behind the impeachment, as titles for each “map.” When excerpted from the conversation, the words attain certain poetry and, in relation to the images in the “maps,” become almost totalizing. I find other words like “Heritage,” “Memory,” and “Marriage” to relate to these phrases and expand their meaning.
Ink, acrylic, glitter, and pencil on paper. 44X55", 2017.
In this work, I reached an understanding of my movements and gestures with paint. I study "pixadores" (graffiti street artists) in São Paulo closely. Pixadores tag large walls on building with black marks that require whole-body movements to create. I would initiate my paintings with black marks. Then, I would find the empty spaces created by my first marks shapes that I'd with color. At the time, I was finishing all of my works with round glitter shapes that I felt connected with Brazil's carnival. The title of the work references a song by Gilberto Gil. January 2017 was the last time I Brazil. That year, for immigration reasons, I knew it would take me long to go back. This anticipation marks this work.
The Wild/The Jungle
Mixed media on paper. Large format, 2018.
Acrylic and pastel on green velour paper, 30X20", 2018.
I sought to map abstract or invisible concepts visually. This work is an early investigation of the nature of maps. I explored the frame's strength to delimit a conceptual space and suggest a mode of thinking related to the image (that is, the mode of searching for a place, as one does with maps). I wanted to use the frame inside the image to "regulate" both my own making and the viewer's eyes.