Caminho das cores do escuro, which was produced during the year before Amelia Toledo’s passing, is marked by a compositional simplicity that synthesizes the artist’s decades of investigations and work.  The artist, whose practice included sculpture, painting and print-making, also worked at Vilanova Artigas as a jewelry and architecture project designer. Perhaps as a consequence, her practice was based on the interaction between form and matter, based on a vocabulary on Concrete Art. Em Caminho das cores do escuro is made up of large fragments of pink quartz which interact with a mirror steel plate. The physical presence of the material is thus multiplied through the reflexive surface, making its volume seem much larger and creating a spatial illusion that appears to converge the language of the pictorial and the sculptural.

Amelia Toledo
Caminho das cores do escuro, 2017
mirrored stainless steel and rose quartz
140 x 600 cm (variable dimensions according to the set-up)

Daniel Buren's The Exploded Hut: homage to Oscar Niemeyer, situated work establish a unique dialogue with the architectural tradition of modernism, typically characterised by the use of modular constructions and industrial materials. As suggested by the title of the work, the piece is not only a homage to the style, but also to one of its leading figures in Brazil and worldwide. Both Buren and Niemeyer's projects, work to modify landscapes through visual forms with strong aesthetic potency. In fact, The Exploded Hut not only interferes in space but also in the viewers' perception of it, as landscapes are seen through the numerous color filters that make up the work's structure, instilling new, not naturally occurring hues. The interaction between the artificial colours proposed by the artist and the organic tones of nature, allow for further chromatic possibilities to emerge—purely ephemerally—depending on the position of the viewer and of the light.

Daniel Buren
The Exploded Hut: homage to Oscar Niemeyer, situated work, 2015
colored transparent filters and vinyl on transparent and colorless plexiglass, metal structure 
310 x 850 x 850 cm

Cloud consulate by Argentinean artist Eduardo Navarro, offers a place of refuge and of observation. The work was first exhibited in 2019, on the occasion of the SP-Arte project Open Space, showcasing the sculpture’s role as an optic instrument, or a hybrid between a periscope and a kaleidoscope. The mirrors, which line the internal walls of this ‘sky observation station’ allow for the viewer to not only admire the sky, but also feel surrounded by it. As such - as is often the case in the artist’s practice - the installation undertakes the role of a sensorial vehicle, elevating the public to other mental states by creating a state of communion between different entities and natural phenomena. 

Eduardo Navarro 
Cloud consulate, 2019 
mirror, glass, mirrored vinyl and wood 
edition of 3 + 2 AP 
290 x 350 x 100 cm

Not Vital's Tongue measures over five meters in height and is made up of reflexive stainless steel, which when placed outside, incorporates the landscapes onto its surface through the process of reflection. The work also establishes a dialogue with the shape of an obelisk - a commemorative monument which originated in Ancient Egypt. Together, when one encounters the work, one seems to face a mirage, as the landscape is distorted and projected through the surface of the piece. Vital built his practice based on exploring the human relationship with nature. His objects alter our perception of both, the natural and architectural landscape they occupy.

Not Vital 
Tongue, 2018 
stainless steel 

507 x 104 x 124 cm

Raul Mourão 
The Flag, 2020 
corten steel 
300 x 350 x 250 cm