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André Penteado San Pablo Brasil, 1970

Most of the time I get the feeling that life is primarily marked by tragic events, both personal and social, big and small. It is the traumatic events, more than the happy moments, that influence our perception of life. Given the unconscious marks they leave, it is with them that we are constantly negotiating.
Based on this thought, I develop a practice that investigates private matters such as loss by suicide and the emotional pain of being an immigrant, as well as historical-political themes of Brazil such as revolutions and endemic corruption.
My work method starts from theoretical research in areas such as psychology, philosophy and history and generally results in projects composed of several works, possessing an aesthetic that I call analytical.
My choice for photography, video and, eventually, graphic works comes from my desire to operate with media generally related to affective memory (memory triggers) and the circulation of information (channels through which tragedies, socially experienced, reach us). In counterpoint to the idea of "document", I use a document/informational aesthetic where the image, although simple and direct, reveals little. In a way, I photograph traces and constructed memories.
I seek to deconstruct the speed and the ideological cutting of the "news". Video works usually use features such as still camera in long scenes, not editing interviews and multiple screens. In all works it is clear the artifice of image construction as a cutout of a complex world and an invitation to contemplation.
I am interested in the conflict that occurs in the observer when he encounters an image that seems simple and recognizable, but that he cannot understand. This can act as a trigger for thoughts that, I hope, go deep into a spiral of questioning from which unconscious or politically manipulated structures can be apprehended.






CONGRESSMEN, 2014
Print on cotton paper
187.5 x 135 cm, edition 3 + 1 AP
(This work is composed of 20 pieces,
individually measuring 33.5 x 30 cm)


The work Congressmen deals with the issues of corruption, political action and visual representation of information.
Its images, that intend to work as “portraits” of a group of politicians suspected of corruption, were created from three sets of information available in the internet, in January 2012: the list of court cases against 329 congressmen found in the website Transparency Brazil – all related to corruption -, the portraits of these congressmen found in the Brazilian Congress website and the number of votes each one of them received in the 2010 election.
Each “portrait” represents one congressman and is the result of the combination of these three pieces of information: the list of court cases is redacted using the colour of their lips selected from their real portraits. The number of votes is placed on the image to work as the key that allows the viewer to search on-line for the name of the politician.
The geometrical shapes that resulted from the process of creating the work reminds us of military artefacts what may make the viewer think about the violence towards the country which corruption represents.
Their simplicity and also mild colors make them pleasing to look at, which also raises the issue that, in Brazil, corruption is sometimes acknowledged and accepted as the norm.
The work also aims to make the point that political change requires effort and the desire to participate.
The “portraits” presented here are from the 20 congressmen with the largest number of court cases against them.

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