The starting point of my work is to generate reflection on a massive image that I reconstruct to point out issues related to the contemporary being. It has to do with massification / loneliness, power / alienation, image / realities, word / fiction. This phrase written by the Belgian artist Francis Alÿs caught my attention: «the meaning of things is never stable. Anything can mean anything », which I wrote down in a notebook. Instability, a state of mind, a state of matter, a state of the proper world ...

Using the newspaper as the main material, my work explores the different relationships between photography, images and words through intensely chromatic paintings that do not offer space for half-readings. But painting is rarely alone, it is generally incorporated into the real newspaper, as an intervention, or specifically fossilized, as opposed to the ephemeral state of this medium. An attempt to poeticize the maximized circulation of images and information, within a broader scope of the media, and also as the production of works grounded in the pictorial tradition of contemporary art subgenres such as bad, free and expanded painting. .. The rather disorderly union between the idea initially thought and the accidents assimilated at work and the oscillations between more incomplete compositions or those strongly united by accumulated and superimposed elements, the plastic-visual chaos that runs through my works of art can provoke a more political reading of such pieces, as a comment on fragmented and superficial times.

The work focuses primarily on news and current events around the world, and takes various forms aimed at giving a new perspective to social, political and cultural issues, such as in the Caminho das Pedras series or my 2017 project «Hotels of crack ”, to be drawn in photographs published in newspapers and magazines about Cracolândia de São Paulo (literally, Crack Land), and in these hotels where drug addicts hang out, and Lacrimogêneo [Lacrimatory], which uses images of protests from all over the world. In one of my previous series based on sporting goods commercials, the advertising reveals that it is far from transgressive in nature, echoing acclaimed visual formulas. As a way of reshaping these signs and combining them without unambiguous meanings, they overlap, accumulate, scrape, print and extract elements from the painting.

I move from large frame paintings to works painted or mounted on small, discarded and less obvious surfaces, such as pieces of wood, slats and tiles, as well as second-hand paper, newspapers and magazines, which relate the work not only to the painting . but also to drawing and assembly.

My unfinished inventories of fragments: objects, drawings, paintings, photographs, ... mixture of created and readymades are used to question our creation of the world through language and knowledge, organizing them in new installations conceptually layered.
The mediums I work in mostly are paintings, drawings, sculpture and installation.