Intermittence series "I conquered the lining of the coloured sky and tore it off, put colour into the resulting bag and tied a knot, Fly! A white, free, endless-infinity-is before you!“ Kazimir Malevich
The point of departure for these works were perspective drawings I made for an architecture collaboration. The project was abruptly discontinued but I still felt connected to the drawings, however I didn't want to keep this sequence of drawings with the purpose of presenting something. So I got a saw and cut all into small pieces as I wanted all to become unrecognisable. I immediately felt there was something to explore and continued to cut until all pieces/rectangles and squares were showing just lines and forms, and finally not trying to say anything.
Then I thought of music and Walter Smetak came to mind, and the idea of "unlearning" became important again.
Back in Salvador da Bahia, in my student years he was an important reference to me. I recall a conversation with Smetak, in 1981 a couple of years before his death. We spoke about his work and how he got into making sounds so different to what he learned as a classic musician in Vienna. That's when I first heard the word "unlearning", commonly used in his native tongue German(verlernen). He explained how classical education gave him the basis to create something so radically different like his avant-garde microtonal compositions.
I decided to start painting all parts in smaller groups, then as a whole ensemble like in a story board.
I wanted to focus on emptiness and the sense of rhythm. My choice of white paint only, helped me building a fragile and very delicate aspect to it, sometimes solid, and other times as a gradient. I thought of space fragmentation, and obviously Zaha's early paintings came to mind.
I also felt the surfaces seemed as if they were multiplying, expanding and sometimes escaping to infinity, and to me the forms floating about din't have to serve any purpose other than establishing ambiguity.
In my view they now serve a simple and straight forward objective: the one of asking "what's in front?" and "what's behind?", and this is what I'm interested at. I want to provoke the viewer to engage with the object, and participating of it. In that sense I don't want to present anything, and it all reconnects to how I feel about space and architectural drawings.
I dedicate this body of work to Czech-Swiss musician, writer and inventor Walter Smetak. A foreigner who adopted my home town Salvador-Bahia as his definite home. Smetak was influenced by theosophic principles and esotericism and influenced the Tropicalia cultural movement. He is an important reference as an avant-garde musician, whose interference helped the forming of Brazil's contemporary musical identity. I've been fascinated with his drawings and sketches since I was a student of Architecture and in particular those used for building his invented musical instruments. Smetak composed his music by using small and persistent intervals(microtones).The video below shows a sample to his work "Indiferenciações"(Indifferentiations)