“L’Intervallo Perduto ou Homenagem a Gillo Dorfles”, 1977-1995.
(L’ Intervallo perduto, or homage to Gillo Dorfles)
This work returns to a series of slides dated from 1977. It portrays a group of twenty eight images of mouths taken from a TV screen. The images have as complement a small TV covered with a white veil where we can see the word SILENCE. It is a reference to the Italian critic’s book l’Intervallo Perduto.
“Em Busca da Cabeça, em Busca do Coração”, 1987
(In the search of the head, in the search of the heart).
As an invited artist to the thematic exhibition: “ Missões 300 Anos” about the Jesuit’s Missions in Rio Grande do Sul, Brazil, in 1987, I chose an image of a sculpture representing a grace.
“Em que Taça beberei?” 1988
(In which cup shall I drink?)
The decadence of culture is also the main theme of this work. A birdbath, photographed in a shop that sells statues for gardens, most of them copies of classical sculpture models, seen through two different manipulated images in the form of a diptych. On the floor, in front of the images, there is a large plexiglass box containing hundreds of pieces of white pottery shards, and a red satin cloth.
“Capitel em Vermelho” , 1987-88.
(The red capital)
Religion and baroque style are the first European models imposed on the south of Brazilian Indians. Like many works of this period, an original photograph of a missionary capital was manipulated through painting, photocopying, and then re-photographed. The large format images are accompanied by two boxes; one has a backlight detail of the image in red, and the other contains charcoal. Both symbols of fire and destruction.
“Memorial III - Dones de la Vida”, 1992. (Memorial III - Women of one’s Life)
This is a large scale installation about memory and the female universe; using an original photo of a field of flowers and more than one hundred names of women the work evokes the feminine world of the viewer’s personal memory. This is done, through the use of “flowerbeds”, backlight boxes, showing photographic manipulated images , as well names engraved in marble plates or written on cheap cardboard or even printed on pages kept in small boxes that can only be touched while wearing white gloves.
“O Nadador”,1992(The Swimmer)
Installation- Casa de Cultura
Mário Quintana,Porto Alegre.
A photography taken from TV of an Olympic swimmer, in the moment of catching his breath, suggests this installation. The photo has been manipulated twenty two times,
rephotographed, representing different moments of life. Other elements, metaphors of the breath of life, such as water in containers, aquariums with working pumps attached to tubes, plastic bags full of water going from clean to dirty, complete the work.
“Memorial IV”, 1992 (memorial IV)
This installation is a statement about the decadence of classical culture in post-modern times. Fragmented photocopies of photographs of ornaments were transferred onto bits of marble plates over a large white cotton cloth, which cover all the surface of the room. A plate of glass covers the entrance door so that you can see the installation but not enter into the space. The only lighting comes from 15w bulbs placed under the cloth in front of each plate. It is a funeral chamber to classical culture.
“Enigmas”, 1996 (Enigmas)
This installation leads with the cultural evolution of man. Three suggestive photographs of primates, point to three important factors of man’s evolution: the hand, the eye and thought. An archaic alphabet made of salt, in little illuminated boxes, placed on the floor suggests the development of the abstraction capabilities. Little pieces of mink, cut from an entire piece, mounted on small canvases, are symbols of cruelty, a constant factor in human history, but also it’s annulment. An image of cosmos, taken by the telescope Hubbe, represents the expanded eye.
A grotesque and ironic figure of the primate bride poses the question: does the marriage animal-culture succeed?
“Cegueses - O Caminho de Tiresias ou Reflexões sobre a Cegueira”, 1997
(Blindness: the Tiresias’ way or reflexions on blindness)
This is the only installation where I didn’t use images. It was a project for an “in situ” installation for a collective show held in the Museu d’Art de Girona, in the north of Catalunya, where I used only texts. These described the main works of five Brazilian artists, ( Lygia Clark, Helio Oiticica, Cildo Meireles, Antonio Dias and Waltercio Caldas); in the sixties and seventies they worked with different non visual matters. The texts printed on blue backlight panels closed the 36 windows of the “Mirador”, in the old museum’s top floor, from where usually one can see beautiful all around views of the medieval quarters of the city. Also, some books with the texts in braille were displayed on tables for blind visitors.
“Nadadores” ,1998 (Swimmers)
Once again, the swimmer figure appears here as man’s effort to confront himself to nature and life. An image taken from a newspaper is transformed into 80 different images, by painting and computer manipulation. The images in sequence have a false animation effect, which deals also with the image’s history like painting, photography and movies.
“Le Revers du Rêveur”, 1998
(The dreamer’s wake-up)
I have been interested in photographing TV scenes since the seventies. Five shots of scenes of an old English movies, showing fragments of a queen and her lover’s life, inspired this installation. The images are reproduced in backlight boxes and an imaginary reconstruction of this queen belongings, like a dress, love letters, jewels or a diary, are displayed on cabinets.
"Visitant Genet", 2001
"Memorial V - Pau-Brasil
Uma câmara ardente para as árvores brasileiras"
The main idea of this work is to built a memorial to the destruction of brazilian forests. Names of four hundred and twenty trees were collectec from a brazilian dictionary, most of them from indian origin.
Engraved marmol plates with the names were placed side to side in both lateral walls of the central room of the instalation.
Before that, at the entrance, in a dark chamber, back-light boxes with photoliths in black and white produced by the artist in the seventies, but now used for the first time, show images of forests, trees and cutted woods.
At the last room ,a dvd projection, shows similar images superposed with images of a flame in permanent movement.
"Per Gli Ucelli", 2010.
I think the installation for Octógono, in a certain way, is divided into three parts: two of them are in the platform, where we have two aspects – the ancient craftsmanship of manipulating glasses, and the post-modern technology of light circuits mechatronic
And hovering over this, the “natural” sound of birds. Although a manipulation was elaborated using overlapping tracks with different birds singing, nature is still the origin of the sounds.
I remember that in my childhood I already observed in a certain way the world was divided in ttwo different elements, what was nature and what was built. For instance in a landscape, it seemed to me that when I saw a house while looking at a field, and seeing a little house in it, this was a noise and in a way even a rupture of the primary harmony and I noticed this division between nature and human action.
In a certain way, there is in my work, a dialogue between the created object and nature.