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From the series "Spoils of a Brancaleone". Time confers on the works that end up remaining in the studio some physical or conceptual wear and, constantly, the artist looking around, considers the need to redesign some of his "creatures" - if not as poetic, at least as a form . And it is in this clash between the past (and its resulting experiences) and the daily reality of the atelier, where this collection that accumulates begins to have the weight of rubble, which the artist seeks, through ideas, techniques, attempts , the successes and the mistakes he has made, his spoils. In an act of detachment, such works and ideas become support for other searches, for new journeys where what seemed to have already been explored reveals other discoveries and new landscapes. This series consists of works done on others that have lost the, say, "tram of history". A kind of self-sustainability in which all the materials used are reuse of supports, shavings and remains of works that, even changing its meaning, still retains some of its history. Acrylic on trimmings of used wood and splinters of glass in a reused and framed wooden board. Framed on the borders with black wood, ready to hang.
From the series "Spoils of a Brancaleone". Time confers on the works that end up remaining in the studio some physical or conceptual wear and, constantly, the artist looking around, considers the need to redesign some of his "creatures" - if not as poetic, at least as a form . And it is in this clash between the past (and its resulting experiences) and the daily reality of the atelier, where this collection that accumulates begins to have the weight of rubble, which the artist seeks, through ideas, techniques, attempts , the successes and the mistakes he has made, his spoils. In an act of detachment, such works and ideas become support for other searches, for new journeys where what seemed to have already been explored reveals other discoveries and new landscapes. This series consists of works done on others that have lost the, say, "tram of history". A kind of self-sustainability in which all the materials used are reuse of supports, shavings and remains of works that, even changing its meaning, still retains some of its history. Acrylic on trimmings of used wood and splinters of glass in a reused and framed wooden board. Framed on the borders with black wood, ready to hang.
From the series "Spoils of a Brancaleone". Time confers on the works that end up remaining in the studio some physical or conceptual wear and, constantly, the artist looking around, considers the need to redesign some of his "creatures" - if not as poetic, at least as a form . And it is in this clash between the past (and its resulting experiences) and the daily reality of the atelier, where this collection that accumulates begins to have the weight of rubble, which the artist seeks, through ideas, techniques, attempts , the successes and the mistakes he has made, his spoils. In an act of detachment, such works and ideas become support for other searches, for new journeys where what seemed to have already been explored reveals other discoveries and new landscapes. This series consists of works done on others that have lost the, say, "tram of history". A kind of self-sustainability in which all the materials used are reuse of supports, shavings and remains of works that, even changing its meaning, still retains some of its history. Acrylic on trimmings of used wood and splinters of glass in a reused and framed wooden board. Framed on the borders with black wood, ready to hang.
From the series "Spoils of a Brancaleone". Time confers on the works that end up remaining in the studio some physical or conceptual wear and, constantly, the artist looking around, considers the need to redesign some of his "creatures" - if not as poetic, at least as a form . And it is in this clash between the past (and its resulting experiences) and the daily reality of the atelier, where this collection that accumulates begins to have the weight of rubble, which the artist seeks, through ideas, techniques, attempts , the successes and the mistakes he has made, his spoils. In an act of detachment, such works and ideas become support for other searches, for new journeys where what seemed to have already been explored reveals other discoveries and new landscapes. This series consists of works done on others that have lost the, say, "tram of history". A kind of self-sustainability in which all the materials used are reuse of supports, shavings and remains of works that, even changing its meaning, still retains some of its history. Acrylic on trimmings of used wood and splinters of glass in a reused and framed wooden board. Framed on the borders with black wood, ready to hang.
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Through the window Collage

Claudio Boczon

Brazil

Collage, Paint on Glass

Size: 23.6 W x 23.6 H x 1.2 D in

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About The Artwork

From the series "Spoils of a Brancaleone". Time confers on the works that end up remaining in the studio some physical or conceptual wear and, constantly, the artist looking around, considers the need to redesign some of his "creatures" - if not as poetic, at least as a form . And it is in this clash between the past (and its resulting experiences) and the daily reality of the atelier, where this collection that accumulates begins to have the weight of rubble, which the artist seeks, through ideas, techniques, attempts , the successes and the mistakes he has made, his spoils. In an act of detachment, such works and ideas become support for other searches, for new journeys where what seemed to have already been explored reveals other discoveries and new landscapes. This series consists of works done on others that have lost the, say, "tram of history". A kind of self-sustainability in which all the materials used are reuse of supports, shavings and remains of works that, even changing its meaning, still retains some of its history. Acrylic on trimmings of used wood and splinters of glass in a reused and framed wooden board. Framed on the borders with black wood, ready to hang.

Details & Dimensions

Collage:Paint on Glass

Original:One-of-a-kind Artwork

Size:23.6 W x 23.6 H x 1.2 D in

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Boczon's work is directed towards a game of contrasts and physicality between overlap and transparency, seeking to hide and reveal in equal measures. This stratification process aims to show the corporeality of the two-dimensional work, highlighting each error and new direction taken, in order to remind us of the painting process. What drives his research is the curiosity to find the beauty hidden in everyday life, in the supports and pictorial material, and bring it to the surface, so that the viewer questions and appreciates aspects for which he, normally, would not give importance. His research and production are strongly influenced by Tachismo and Arte Povera, by the reuse and recycling of materials, ideas and concepts. Often, when using his own older works, reconstructing and making new collages from them, he is recycling both the physical item and the concepts behind these works. Began his artistic research in the Atelier of Painting of the Museum Alfredo Andersen, under the direction of Ronald Yves Simon, also attended workshops in painting, printmaking and photography . Participates, since 1999, of Salons of Art and Exhibitions Collectives and Individuals, being awarded five times.

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