Exhibition view of “Ecos”, solo show at Fundação Clóvis Salgado, 2019



untitled, clay, 950 x 0.04 x 0.04 in (2400 x 0.1 x 0.1 cm), 2014/2019



untitled, clay, 950 x 0.04 x 0.04 in (2400 x 0.1 x 0.1 cm), 2014/2019



untitled, glass nail, 2 x 2 x 0.2 in (5 x 5 x 0.5 cm), 2013/2017



untitled, glass nail, 2 x 2 x 0.2 in (5 x 5 x 0.5 cm), 2013/2017



Exhibition view



dm, cm, mm, paper, 3.94 x 3.94 x 0.34 in (10 x 10 x 0.1 cm), 2017 



dm, cm, mm, paper, 3.94 x 3.94 x 0.34 in (10 x 10 x 0.1 cm), 2017



1g de ar [1g of air], acrylic, 3.75 x 3.75 x 3.75 in (9.5 x 9.5 x 9.5 cm), 2013/2019




untitled, canvas strings, 63 x 1.18 x 0.04 in (160 x 3 x 0.1 cm), 2015/2019



untitled, canvas strings, 63 x 1.18 x 0.04 in (160 x 3 x 0.1 cm), 2015/2019



on the left: untitled [red light]; on the right: Minuto and 66 pregos, 78 segundos



untitled, red bulb and electronic device, 1 x 1 x 1.18 in (2.5 x 2.5 x 3.0 cm), 2015/2019


on the left: Minuto; on the right: 66 pregos, 78 segundos



Minuto [Minute], photogram, 20 x 1.8 in (50 x 4.6 cm), 2013/2019


“Echos

The word echo suggests a relation between an empty space and a given sound or noise, as a reaction to an element that did not belong to this space in the first place. However, does this apply to images as well, instead of solely sound vibrations? And what about almost nonexistent bodies? Could they resonate in an empty space as do sound, noise and the human voice? The word echo does not end at the idea of a sound presence, for it can mean the resonance of something which, despite its apparent meaninglessness, becomes nothing only after it ceases reverberating.”
 
Photos and text of “Ecos”, solo show at Fundação Clóvis Salgado (Palácio das Artes, Belo Horizonte), 2019.