Statement  

My sense of space and the question of being and non being, come from my childhood. The first life changing experience that comes to mind was when I felt a drastic loss of freedom for the first time. I was 10 years old and forced to enroll in an army school. It was mandatory in my family. My father was a Colonel and these were the 70's in Brazil, during the military regime. The rules had changed on how I should be from that time on. In spite of all restrictions I still knew how to play in my imagination, which helped me navigate reality or what I felt and perceived as real. That's when I discovered my own space through painting as an experiment at that Army school. I started to identify myself secretly as an artist, which wasn't allowed in my family either. 

A decade later I decided to pursuit the study of Architecture and Urban Planning. In fact I felt it should have been Art throughout my studies, until some aspects opened new doors to me and my understanding of space, specifically when I became informed by European developments like the Bauhaus.  

There was always this tension of being interested in architecture but not wanting to become one. None of my heroes were architects and my first role model was the Master of Form Oskar Schlemmer. I was fascinated by his sculptural work with the human body translated into architectural surfaces, and I was influenced by him when I made my first extra-curricular experiments in Theatre and film making. 

Another very important role model during the 80's was Walter Smetak, a Roma Swiss-born pluralist artist. He was a musician, composer, writer, inventor and sculptor, creating his own musical instruments. He called them "plasticas sonoras"(sounding sculptures) out of which he could produce unique sounds. Smetak was a legendary Musician, becoming an important influence on the famous Tropicalia movement.  I remember him saying that it didn't make any sense speaking about music as it spoke for itself and it had to be experienced. He also told me about the importance of "unlearning", explaining that it was important to first learn as much as possible with traditions, as he learned European classical music in Salzburg , to then create something so radically different.   

Lately, I've found myself thinking a lot about Smetak, and my recent experimentations "Intermittence and Recast" are deeply rooted to these thoughts.  I'm now in my fifties and the idea to ‘unlearn’ has grown stronger in me, in fact its somewhat an obsession.

Although my work strongly uses elements of architecture and geometry which enables one to pursuit perfect forms, my focus is exactly on the opposite. To me form is ever only a tool to open questions.  

The very core of my work doesn't build on rational or mathematical thinking, but it uses it deliberately as a "background noise", like those of urban noises that are so incorporated to our lives to a point we don't hear them anymore. 

To me its always about including the viewer and opening questions.