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Garden
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Garden Installation

luiz lemos

Brazil

Installation

Size: 21.6 W x 86 H x 216 D in

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About The Artwork

Jardim (Garden) Installation Jardim (Garden) is an installation that consists of the appropriation of objects from urban disposal and the recomposition of these materials in sculptures that resemble “gambiarras” built in order to pay attention to something or place. These gadgets serve to highlight holes in roads, reserve spaces under construction, garages or advertising. Cans of paint with concrete and rods reveal a hole in the street; a similar object is seen in large roads constructions, preventing or coordinating traffic; we can still find them, guarding garages or advertisements in rudimentary shops. The installation evokes the monumentality of manual labor, showing the Africanity present in labor and construction – taking into account that the basic work done in the organization of a city, manual work and physical strength, is performed by the black workforce, and also an approach to the monumentality of contemporary African art.

Details & Dimensions

Installation:Neon on Other

Original:One-of-a-kind Artwork

Size:21.6 W x 86 H x 216 D in

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I´m an Brasilian based artist. In this portfolio I present a clipping of paintings and installations developed in 2018 and 19. These works reflect research on the interpretation and emptying of symbols and characteristics of a city taken from the urban context and worked in image. I bring as a source of research the ways of building a city, the modes of communication used in a city and the urban landscape. I interpret materials, repetitions, lights, prints, graphics, communication elements and identification plates, transposing the excesses of the city into image. The urban landscape signs are removed from context and has their sense emptied: in the paintings a letter does not fulfill the function of forming words, neon lights do not advertise trades, traffic plates do not indicate localities, all symbols chosen point for the void of his urban excess Empty the landscape by desinging its characteristics to the smallest point of recognition: A circumference and a horizontal line are sufficient to identify it. Thus, I compose the paintings with letters, clouds, circles, landscapes, mountains, prints, lights. An unlikely contact between urban communication and utopian landscape allow me to talk about the city and landscape by emptying its signs. Thus, through the paintings and the installations, I propose: 1- Empty the meaning of communication and landscape by the disuse of letters and not definition of place/landscape; 2- Affirm, repeat, supersede and nullify the sign. 3- Organize urban findings and disorganize visual compositions – conflict the expansive gesture with the synthesis of the landscape idea; 4- Expand the body of wall paint into space.

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