“All my colours turn to clouds” (Echo & the Bunnymen) It is the motto of all my art.
In relation to this selection, all images seek “express” the general idea of holomovement: a movement that hides and reveals colors and shapes.
The American physicist David Bohm believed that everything we perceive the reality is just the manifestation or expression of a much broader reality, a continuous motion to fold and unfold, of hiding and show up. All that is clear is that floating “holomovimento”.
The word "manifesto" is based on 'mani', that means “hold with the hand”, something solid and tangible, visibly stable. It is eternal or temporarily trapped flux reaching the stability provisionally, “as a whirlwind that closes on itself, although it is always on the move” (David Bohm).
To the cloud maintains a stable and, therefore, you can consider it a wind movement demonstration. Likewise, we can consider that the matter was within the clouds holomovement, manifesting the, making it perceptible.
All beings are the forms holomovement. This, obviously, It includes the human being with all his faculties. – "Adelmo Avancini"
Where did you born? And what is your academic training?
I was born in Pinheiros, inside the Holy Spirit. I am an electrical engineer, with emphasis on Telecommunications.
How and when you give your first contact with the Arts?
I believe it was my contact with the forest and the rivers (I lived near the Amazon rainforest to the age of four).
How did you find this gift?
By the age of six, when I began to ask my parents to buy books for me to draw. I used to draw (usually, human figures) on all sheets quickly, then asked to buy another notebook - but, was often, I had to wait (anxiously) a few days before the next.
What are your main influences?
Chinese landscapes of the era of the dynasty Sing; Japanese painting in ink; Katsushika Hokusai; post-impressionism; Wassily Kandinsky; Gustav Klimt; Amadeo Modigliani; Jackson Pollock; a “pop art” (Andy Warhol, Tom Wesselman, James Rosenquist, Roy Liechtenstein); Laurence Gartel; Mark Wilson; charcoal, tattoo, comics, cinema, punk rock, post-punk.
What is your creative process itself? What inspires you?
Sometimes the "lucid and solemn awareness of things and beings", as says Alberto Caeiro; other times, the perception of the beauty of the female form; still others, a concept that I want to express.
When you started effectively to produce or create your works?
As I said, drawing since childhood (and I never stopped). But I began to produce more consistently for nearly two years, when I began to create and share digital art on my page Instagram. This put me in touch with various artists in Brazil and abroad. In 2017, I started to produce exhibitions and fairs, relying on the ever-present support of my dealer, Maria dos Anjos Oliveira.
Art is an intellectual production exquisite, where emotions are embedded in the context of creation, but in art history, we see that many artists are derived from other, following technical and artistic movements through time, you own any model or influence of any artist? Who would be?
Not a single artist, mas da “pop art”, especially - and here I include the entire universe of comics, do cinema e do rock’n’roll.
What does art mean to you? If you were to summarize in a few words the meaning of Arts in your life…
It is what allows to find out who I am and be faithful to it.
What techniques do you use to express their ideas, feelings and perceptions about the world? (Whether it is through painting, sculpture, drawing, collage, photography… or uses several techniques in order to make a mix of different art forms).
I basically worked with digital painting. Hand drawing sometimes. Create some videos too, but are ways to disseminate the digital painting.
Every artist has his mentor, that person whom you mirrored that encouraged and inspired you to follow this career you, going ahead and taking your dreams the other expression levels, who this person is and how it introduced you in the art world?
I had (and I have) two mentors: the coach of artists Alessandra Old and my art dealer Mary of the Angels.
You have another activity beyond art? You give lessons, lectures etc.?
Participate of the board of the Cultural Institute Civitas Solis.
Its major national and international exhibitions and their awards?
In 2017 I was present at the Louvre Carrousel of the exhibition (Paris); in the exhibition “Shapes and Colors”, da Porto Art Gallery, in Porto (Portugal), and in the exhibition "Art Press", Angels in Art Gallery (Rio de Janeiro).
In 2018, I participated in the exhibition “The Secrets to Sao Paulo Hide”, on Espacio Uruguay, in São Paulo, and I am participating in the exhibition "Encounters", in JOH MABE Space Art and Culture (also in São Paulo), days 14 a 28 March. Also participate in the exhibition "Colors of São Paulo", Angels in Art Gallery (Rio de Janeiro), days 03 a 29 March.
I will attend the fair "Art Expo New York", days 19 a 22 April. I'm still closing this year exhibitions in Portugal, Italy and France.
Your plans for the future?
I intend to develop and expand my work to other forms and media.
In your opinion what is the future of Brazilian art and its artists? (in the general context) and why so many artists are giving preference to show their work in international exhibitions despite high costs?
I note with optimism the future of Brazilian art, both the talent of many artists such as the interest of connoisseurs and collectors. I think that, when political and economic issues come out of the current impasse, the country will grow and there will be many opportunities in the area. New tools to sell art on the Internet will also help in the artist's work expansion to other markets.
I think the interest in international exhibitions is due in part to the Brazilian economic crisis, but also the dream of having their art recognized across borders.
I have noticed that some traditional galleries are closing activities. Artists are giving preference to exhibit at Cultural Spaces. In your opinion what would be the cause?
I do not know if the bankruptcy of some galleries due to the lack of interest of artists. We live in a prolonged economic recession, that is hitting many sectors. But the interest in cultural venues is due in part to the work of exposure to a wider audience.
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