I believe that all art is, in itself, a political act—as long as, in the search for
encounters and discoveries, the artist remains attentive to the causes that
provoke the sensations born from seeing, looking, and feeling, shaped by time
accumulated through a critical and reflective lens on the world around them.
Through this process, it may be possible to assign new meanings to presence and
belonging, connecting past and present toward a future shaped by the dreams
and creative delusions that art allows us to represent.
With this in mind, I’ve always seen the world as one vast collage—feeling, in the act
of creating, like someone who paints while writing.
Every work I have created—or am still creating—can, at any moment, leave the
map drawer to be recontextualized and placed on the easel. I see the easel as a
metaphorical support that redirects our attention away from the place it currently
occupies. True change happens when we examine the root of the problem.
This series continues the work of two earlier ones, We Are All Memory and Memory
in Motion, featured in previous editions. Verticalities in the Foundations of Memory
emerged as the first body of work structured across two planes: the first, a
photographic print on voile, based on an image I took of São Paulo; the second, a
mixed-media piece created from that same photograph and others captured in
the city. Overlapped, these two planes form a single work—the origin of a series
that has since expanded to include pieces such as Demolitions, Migrations, and
Roofs in Motion.
The research and intention behind these series stem from a continuous
observation of recurring events and patterns—expressed in different ways—that
threaten the right to life, the freedom to move, exist, and be present. They speak to
the erasure of histories tied to place, and of ancestral and emotional memory, all
carried out by systems and organizations that assert sovereign power.