top of page


Between the Walls and the Sidewalks Sifting Boards proposes a dialogue with places that fit in the urban centers models – corners, sidewalks, walking paths – where life happens. The title of the exhibition addresses to these spaces as visual experiences allowed by the living of the urban environment, a fundamental landscape of my imaginary, one of the motivations and urgencies within a social tracking.


The large cardboard panels sequences which are distributed in the exhibition room, dress embossment walls painted in black, as if matrixes of engravings. The walls give support and limit to the paintings, here presented in groups, thus combining perspectives and creating a type of labyrinth which takes the expectator to a universe of unlimited perspectives. 


The images direct the look to “vanishing points” that transit in the poetic discovered in the title-sentence of the exhibition Between the Walls and the Sidewalks Sifting Boards, sshown as an indistinct whisper that swings between “in” and “out” when searching for a place, a secret scenery, even if found in a blind alley, for a more flexible and humane world.




The scale is a constructive part of the work where the painting invades the space and the space is stationed somewhere else. The corrugated cardboard is present as an aesthetic structure as well as a material, a result of the incisions made where the cuts in bas-relief are seen on the lines of the drawing and light rips of the painting. The offset graphic ink is a migratory process of the engraving, as well as the work itself, inside the thinking of the painting-relief as a matrix. On the other hand, the precision of the drawing of straight and solid lines carries a fragile construction and requires a delicate feeling, once the cut instrument and the register is the stiletto: any place hurt, gives out light... The paper scraps – remnants of the cuts – fall on the floor as glimmers of light.


The Galeria Antonio Bandeira, of the CCBN, in Fortaleza, and CCBNB, Cariri, both places in Ceará, Brazil, offer a strategic link with the proposed theme of the exhibition. The local people and the visitors of these cities are inserted in the concept of the work as observers and participants of the history of the place. The visuality and the working process are similar to the illustrations of the literature cordel flyer printings, as the wood engravings that, through their “making act” hold a similarity to the printing of the painting introduced as a matrix of engraving.



bottom of page