For the last few years my country has been passing through a political nightmare. Monstera Chaos is my dreamed vision of the Brazilian flag idealised by the futurism movement. The work title replaces the “order and progress”, and we run out of green fields here, only the yellow gold matters. The blue Monstera leaf tries to materialize the tropically absurd feeling that the country is deeply threaded in.
The Lifeguard Tower
The "Salva Vidas" series shows the variation of the different lighting on the old Art Deco lifeguard station on Boa Viagem beach in Recife. Strongly connected with my childhood in Brazil, this piece attempts to draw attention to the waves of urban gentrification in Latin America through the memory of the residents of these regions.
An old passion that began in my teens when I started to understand the meaning of architecture. Some love it, others not so much, for me it is a kind of pride, like what you feel for the Brazilian National team. Moments like my first visit to Brasilia, the discovery of the duel between Corbusier and Niemeyer for the United Nations project or the collaboration with fellow countryman Joaquim, are part of this loving utopia. In this work I try to reflect on the parallel between the ideal project, not completed by the conductor and what becomes, an icon of the city of São Paulo with all its contradictions. Two brothers seen from different angles and times but bearing the same surname: Oscar Copan and Paulo Copan
Red Solitude Box
Ten years ago I left the country I was born in. I remember that during the early years the desire to return was constant and stronger with each disappointment ahead. I have lived in three lands, with three completely different cultures and ways, which combined with the passage of time, makes me agree more and more with a friend who once said “our longing is not of the place, but of a time, with people who have already changed so much that they must now long for others.” For those who remain the same, this Red Dot in the middle of the city, designed by Sir Giles Gilbert Scott, has always been an icon of proximity. From the breaking of the distant. Today he lives alone. In the middle of a completely connected and increasingly divided world.
At the end of 2008, at the height of the global financial crisis, we landed in Lisbon to live six of the best years of our lives. From the top of the hill of São Roque, Bairro Alto, I used to leave the Rua da Rosa where we lived, and walk down to discover new streets and sidewalks of the city, but of course, one of the most common final destinations was the Terreiro do Paço. The columns on the Tagus dock are one of the most remarkable visual memories of my years in Lisbon. Removed in the seventies for construction works in the Terreiro, only to come back to the banks of the Tagus in 2008, alongside us. Since then, Salazar and Carmona, official names of the columns given by the New State, are there under sun, rain, cold and wind, all the holy days of the year, serving as a background in the travelers' photos and reminding everyone that dictators and tyrants are always around, ready to end the beauty and joy of this world.