F A V E L A







56 x 304 cm woodcut 2002

FAVELA, PROCEDURE







Printed with a typographic press in Torben Bo Halbirk's Studio, Paris, France, 2002

www.torbenbohalbirk.com

The braziliam word 'Favela' means a shanty-town. As the people who lives in Favelas do, I did with my woodcuts: I've found some pieces of wood on the streets to build my matrix which, after printed, was desconstruct it to give birth to another one, so, in this way, I've printed several houses to form a entire Favela.

T R A D E M A R K







Print/Performance + Vídeo ~800 x 140 cm ~ Paris, 2002

VIDEO AND PRINT PROCEDURE OF "TRADEMARK"






Vídeo by Cyril Sauvenay, Paris, 2002

www.cysplace.tv

In this work I use my own body to print, conglomerating my mouvements and weight, what resulted in an image. To film the performing act I invited Cyril Suvenay, a french film-director. So, below the work I put a TV showing the performance.

TRADEMARK (SIDE B)

On the other side of the work I made 1200 prints whit my thumb to draw somethig near to a electrocardiogram's image.

STEALING SHADOWS...





Performance art can be any situation that involves four basic elements: time, space, the performer's body and a relationship between performer and audience.

“Performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise. The work may be presented solo or with a group, with lighting, music or visuals made by the performance artist him or herself, or in collaboration, and performed in places ranging from an art gallery or museum to an “alternative space”, a theatre, café, bar or street corner. Unlike theatre, the performer is the artist, seldom a character like an actor, and the content rarely follows a traditional plot or narrative. The performance might be a series of intimate gestures or large-scale visual theatre, lasting from a few minutes to many hours; it might be performed only once or repeated several times, with or without a prepared script, spontaneously improvised, or rehearsed over many months.”
(Roselee Goldberg states in Performance Art: From Futurism to the Present)

NO SHADOW

drawing on the floor with chalk - São Paulo, 2007

V I S - À - V I S







20 x 500 cm instalation: varnish on book pages, under plexiglass - Paris, France - 2003

I like to make Installation art, because I have the opportunity of use some sculptural materials or other media ( materials used in contemporary insallation art range from everyday and natural materials to new media) to modify the way people experience a particular space (installation art is not necessarily confined to gallery spaces and can be any material intervention in everyday public or private spaces - some installations are site-specific in that they are designed to only exist in the space for which they were created).

VIS-À-VIS' S DETAILS

T R A S L A D A Ç Ã O







180 x 500 cm woodcut on synthetic fibre 1998

TRASLADAÇÃO'S DETAILS

When I chose to work with synthetic fibre, I was looking for thickness and transparency on my print.

INSTALLATION IN BELLEVILLE'S CHURCH
PARIS, FRANCE





In this installation people experiemented new sensations by hearing the particular soundtrack that Rémy Silva made for the occasion.

QUAND LE CIEL TOUCHE LA TERRE







8000 x 1000 cm white tape on plastic 2002

INTO THE HEART







100 x 150 crayon + assemblage 2002

I think that drawing is one of the major forms of visual expression within the visual arts. Drawing is often exploratory, with considerable emphasis on observation, problem solving and composition. I like to draw in big sizes using fast movements.

D R E A M E R








100 x 150 cm crayon 2002

MYSTERIOUS WAYS







100 x 150 cm ball-point pen 2002

UNTIL THE END OF THE WORLD








100 x 150 cm crayon 2002

O N E







150 x 100 cm ball-point pen 2002

FAST CHANGES







100 x 150 cm crayon 2002

D A N C E







66 x 96 cm crayon + assemblage 2001

ANOTHER PAPER IN THE WALL

Performance + collage

"In the beginning was the black wall, and the wall was wider, and the artist had to scale the scaffold in front of the wall. With him was the waste papers and this papers was the light that formed a large face of men. “The Light shines in the darkness and the darkness did not overcome it”.

600 x 900 cm ~ gluing of waste paper on the wall ~ 2005

J U M P

110 x 90 cm acrylic on canvas 2004