The visit of Max Bill – Brasílias’ subway tiles, 2017 Acrylic on canvas 210 x 170 cm I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a vast
The visit of Max Bill – Bulcão/Bill 2, 2017 Acrylic on canvas 170 x 170 cm (Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a
The visit of Max Bill – Bulcão/Bill 1, 2017 Acrylic on canvas 170 x 170 cm (Private Collection) I was born and raised in São Paulo, Brazil, one of the world’s biggest cities, which carries many cultural contradictions and a social context historically defined in the relations of colonialism. The term post/colonial refers to a
The visit of Max Bill – Ludolf/Clark/Carvão/Oiticica/Bill, 2017 Acrylic on gesso coated paper 130 x 80 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
The visit of Max Bill – Clark/Bill, 2017 Acrylic on cardboard 29 x 42 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the copies are
The visit of Max Bill – Clark/Bill, 2017 Acrylic on gesso coated paper 120 x 105 cm The visit of Max Bill is a series of appropriations. They are copies of iconographic paintings by Max Bill and by Brazilian artists produced during the Concrete Art period. The paintings fit together like a collage as the
Compared geometry – Clark, 2016 Acrylic on cardboard 39 x 17 cm Compared Geometry is an ongoing series. It places images and materials close together for comparison or contrast. The objects of comparison are sections of shipping boxes and reproductions of iconic Concrete artworks by Brazilian artists. Their names come in the titles: Waldemar Cordeiro,
