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pigment print on kozo awagami paper 110g
Photo Filipe Berndt
In the Clouds series, we can, from a distance, look for shapes in the clouds like in the childs game. But upon approaching the works, we can see that, in fact, the clouds are made of letters that form words.
The letters, scattered throughout the images, also require some investigation to reveal themselves to the viewer.
pigment print on kozo awagami paper 110g
Photo Filipe BerndtIn the Clouds series, we can, from a distance, look for shapes in the clouds like in the childs game. But upon approaching the works, we can see that, in fact, the clouds are made of letters that form words.
The letters, scattered throughout the images, also require some investigation to reveal themselves to the viewer.
pigment print on kozo awagami paper 110g
Photo Filipe Berndt
In the Clouds series, we can, from a distance, look for shapes in the clouds like in the childs game. But upon approaching the works, we can see that, in fact, the clouds are made of letters that form words.
The letters, scattered throughout the images, also require some investigation to reveal themselves to the viewer.
95 x 135 cm
pigment print on kozo awagami paper 110g
Photo Filipe BerndtIn the Clouds series, we can, from a distance, look for shapes in the clouds like in the childs game. But upon approaching the works, we can see that, in fact, the clouds are made of letters that form words.
The letters, scattered throughout the images, also require some investigation to reveal themselves to the viewer.
bronze cromado
Photo Filipe Berndt
O novo bronze de Edgard de Souza se coloca entre um autorretrato e um possível retrato de quem o vê. A superfície cromada espelhada e sua forma lembram um espelho de mão, ao mesmo tempo em que sugerem uma cabeça com pescoço. Sua forma também se relaciona com a célebres “Gotas” de Edgard, que evocam fluídos corporais.
Edgard cita o espelho a partir de referências tão diversas quanto a “Maschinenmensch” de Fritz Lang e os desenhos de Verner Panton. De Constantin Brancusi à máquina de moldagem a vácuo “Vacuum form”. Edgard aproxima artesania e processos industriais de reprodução, o indivíduo e o reproduzível. Sua produção passa por essa dicotomia: suas peças em bronze são meticulosamente esculpidas à mão antes de passarem pelo processo de reprodutibilidade da fundição a partir de moldes.
Desde o início de sua produção, no final dos anos 1980, de Souza investiga a escultura – seus processos e histórias – com o mesmo vigor que seus contemporâneos se dedicavam à pintura. Suas obras estão instaladas permanentemente no Instituto Inhotim, em Minas Gerais e foram símbolo da famosa 24ª Bienal de São Paulo (1998), conhecida como a Bienal da Antopofagia, com curadoria de Paulo Herkenhoff e Adriano pedrosa (adjunto). Pedrosa também curou a exposição panorâmica de de Souza na Pinacoteca do Estado de São Paulo (2004). Seus trabalhos estão presentes em museus como Fundación Museo Reina Sofía (Espanha), Palm Springs Art Museum (EUA), Inhotim (Brasil), Pinacoteca do Estado (Brasil), MAM SP (Brasil) e MAM RJ (Brasil).
Edgard da um último depoimento sobre a peça: “Um aspecto importante para mim é a forma em si. Quando o espelho de toucador ganha a dimensão de uma raquete ele vira uma arma – especialmente quando pesa 5 quilos – dá para rachar a cabeça de alguém! Armas são sempre um problema e o reflexo põe o expectador como parte do problema. O negacionismo de hoje tem a ver com a vontade das pessoas escaparem de responsabilidades… sei que é muita viagem e que tudo isso não aparece no trabalho, mas foi essa ideia que me conduziu aqui. Sei lá, talvez a coisa fechasse se o trabalho fosse batizado ‘Problema’.”
De Souza fala mais uma vez sobre dualidade. Sobre o belo e o feio em cada um. O reflexo, na história da arte, muitas vezes, apontou a dualidade do individuo: do “Narciso” de Caravaggio (1597-1599) ao romance “O Retrato de Dorian Gray” (1890), de Oscar Wilde.
O reflexo sempre ofereceu sedução e risco.
57 x 20 x 6,5 cm
bronze cromado
Photo Filipe BerndtO novo bronze de Edgard de Souza se coloca entre um autorretrato e um possível retrato de quem o vê. A superfície cromada espelhada e sua forma lembram um espelho de mão, ao mesmo tempo em que sugerem uma cabeça com pescoço. Sua forma também se relaciona com a célebres “Gotas” de Edgard, que evocam fluídos corporais.
Edgard cita o espelho a partir de referências tão diversas quanto a “Maschinenmensch” de Fritz Lang e os desenhos de Verner Panton. De Constantin Brancusi à máquina de moldagem a vácuo “Vacuum form”. Edgard aproxima artesania e processos industriais de reprodução, o indivíduo e o reproduzível. Sua produção passa por essa dicotomia: suas peças em bronze são meticulosamente esculpidas à mão antes de passarem pelo processo de reprodutibilidade da fundição a partir de moldes.
Desde o início de sua produção, no final dos anos 1980, de Souza investiga a escultura – seus processos e histórias – com o mesmo vigor que seus contemporâneos se dedicavam à pintura. Suas obras estão instaladas permanentemente no Instituto Inhotim, em Minas Gerais e foram símbolo da famosa 24ª Bienal de São Paulo (1998), conhecida como a Bienal da Antopofagia, com curadoria de Paulo Herkenhoff e Adriano pedrosa (adjunto). Pedrosa também curou a exposição panorâmica de de Souza na Pinacoteca do Estado de São Paulo (2004). Seus trabalhos estão presentes em museus como Fundación Museo Reina Sofía (Espanha), Palm Springs Art Museum (EUA), Inhotim (Brasil), Pinacoteca do Estado (Brasil), MAM SP (Brasil) e MAM RJ (Brasil).
Edgard da um último depoimento sobre a peça: “Um aspecto importante para mim é a forma em si. Quando o espelho de toucador ganha a dimensão de uma raquete ele vira uma arma – especialmente quando pesa 5 quilos – dá para rachar a cabeça de alguém! Armas são sempre um problema e o reflexo põe o expectador como parte do problema. O negacionismo de hoje tem a ver com a vontade das pessoas escaparem de responsabilidades… sei que é muita viagem e que tudo isso não aparece no trabalho, mas foi essa ideia que me conduziu aqui. Sei lá, talvez a coisa fechasse se o trabalho fosse batizado ‘Problema’.”
De Souza fala mais uma vez sobre dualidade. Sobre o belo e o feio em cada um. O reflexo, na história da arte, muitas vezes, apontou a dualidade do individuo: do “Narciso” de Caravaggio (1597-1599) ao romance “O Retrato de Dorian Gray” (1890), de Oscar Wilde.
O reflexo sempre ofereceu sedução e risco.
Lightjet C-prints on Fuji Crystal Archive Paper, laminated
Photo Reproduction
The Red Series (Military) is composed of old photographs of men and boys wearing military uniforms, in hieratic poses. With Rennó’s blunt interference, an almost total red seal is created in these images, emphasizing their barely visible meanings. From a distance, these works are like monochromatic rectangles, but when we get closer, it is possible to gradually glimpse the ghostly images of those men and boys who, as Tadeu Chiarelli noted, appear “lost in time and color, which seems to want to engulf them in definitive”. Chiarelli notes that, on the other hand, the color red enables a series of conflicting symbolic associations, for example, the symbology of tragedy versus that of love and sex.
Luana Saturnino Tvardovskas: Body and Gender in Rosângela Rennó (excerpt).
–
The Red Series is one of Rosângela Rennó’s most famous productions and has been shown in important exhibitions such as:
-International Biennale of Venice, Italy, 2003
-Unbound: Contemporary Art After Frida Kahlo, Museum Of Contemporary Art of Chicago, Chicago, USA. 2014
-Space to Dream: Recent Art from South America, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand. 2016
-Rosangela Rennó. Small Ecology of the Image. Estação Pinacoteca, São Paulo, Brazil. 2021-2022
–
The Red Series has been offered in important auction houses such as Sothebys NY, 2012; Phillips London, 2014; Phillips NY, 2016 and Christies Amsterdam, 2018
180 x 100 cm each
Lightjet C-prints on Fuji Crystal Archive Paper, laminated
Photo ReproductionThe Red Series (Military) is composed of old photographs of men and boys wearing military uniforms, in hieratic poses. With Rennó’s blunt interference, an almost total red seal is created in these images, emphasizing their barely visible meanings. From a distance, these works are like monochromatic rectangles, but when we get closer, it is possible to gradually glimpse the ghostly images of those men and boys who, as Tadeu Chiarelli noted, appear “lost in time and color, which seems to want to engulf them in definitive”. Chiarelli notes that, on the other hand, the color red enables a series of conflicting symbolic associations, for example, the symbology of tragedy versus that of love and sex.
Luana Saturnino Tvardovskas: Body and Gender in Rosângela Rennó (excerpt).
–
The Red Series is one of Rosângela Rennó’s most famous productions and has been shown in important exhibitions such as:
-International Biennale of Venice, Italy, 2003
-Unbound: Contemporary Art After Frida Kahlo, Museum Of Contemporary Art of Chicago, Chicago, USA. 2014
-Space to Dream: Recent Art from South America, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand. 2016
-Rosangela Rennó. Small Ecology of the Image. Estação Pinacoteca, São Paulo, Brazil. 2021-2022
–
The Red Series has been offered in important auction houses such as Sothebys NY, 2012; Phillips London, 2014; Phillips NY, 2016 and Christies Amsterdam, 2018
Mahogany and glass
Photo Vermelho
The surge of life drive embedded in everyday objects is a constant in Edgard de Souza’s oeuvre and becomes evident in the series of wooden spoons the artist have been developing.
The objects were meticulously sculpted from rare wood logs – here in mahogany. In Colher lambe colher [Spoon licks spoon] the wood comes to life through human features, and as a couple, the two spoons serve each other voluptuously.
80 cm + 72 cm (glass 30 x 9,5 cm)
Mahogany and glass
Photo VermelhoThe surge of life drive embedded in everyday objects is a constant in Edgard de Souza’s oeuvre and becomes evident in the series of wooden spoons the artist have been developing.
The objects were meticulously sculpted from rare wood logs – here in mahogany. In Colher lambe colher [Spoon licks spoon] the wood comes to life through human features, and as a couple, the two spoons serve each other voluptuously.
Gelatin silver on Ilford Multigrade Classic fibre base (matt), double-weight 255g paper, with selenium toning
Photo Reproduction
Claudia Andujar (Neuchatêl, 1931), escaped the German invasion of Hungary – where she was living with her family during the 2nd World War – and the Holocaust, with her swiss mother Germain in 1944 – 1945. Her paternal family perished in the German concentration camps. In 1946, she emigrated to New York to live with her paternal uncle – the only other Holocaust survivor from her father´s family – in the Bronx. She finished high-school, studied humanities at Hunter College, got married to Julio Andujar and worked as a guide at the United Nations’ headquarter. In New York she also studied painting and left for São Paulo, Brazil, in 1955 to live with her mother.
She started photographing as she put, “as a way to getting to know the other”, and travelling extensively in Latin America. During this time, she kept going back to New York where she showed her paintings, in 1953, at the Coeval Gallery together with the painter and cinematographer Ramon Estella (1911-1991).
Encouraged by anthropologist Darcy Ribeiro (1922 – 1997), she visited the Karajá people at the Ilha do Bananal in 1956.
In 1958, Pietro Maria Bardi (1900-1999), director of MASP invites Claudia to conceive, together with artists such as Antonio Gomide, Bruno Giorgi, Candido Portinari, Lasar Segall, Samson Flexor, Tarsila do Amaral, Tomie Ohtake, a major stained glass vitral at the FAAP foundation in São Paulo.
In 1959, MoMA, through Edward Steichen (1879-1973), buys two of her photographs. In 1960, the Spanish version of Life magazine publishes her photographs of the Karajá people. Lew Parrella (1927-2014) sets up her first solo show at the Limelight gallery in New York. She also participates in the exhibition Photographs for Collectors at MoMA (alongside Henri Cartier Bresson, Robert Frank, Minor White among others), which buys two more of her photographs.
In 1961 she makes a documentary on the staunch defender of human rights during the military dictatorship, the progressive religious leader Dom Helder Camera (1909-1999) in the favelas of Rio de Janeiro.
In 1965 she participates in the exhibition The world and Its People at the Kodak pavilion during the World Fair in New York.
Claudia Andujar spent time with the Xicrin-Kayapó people in the southern parts of the state of Pará, Brazil, on several occasions, in 1966, 1969 and 1970.
Her first stay, in 1966, was when she spent a month getting to know them and also doing some photographing.
In 1968 The New York Times Magazine (Janeiro) publishes a cover with a Xicrin by Claudia Andujar.
In 1969 The magazine Natural History of the American Museum of Natural History publishes photos by Claudia Andujar of the Quéchua people in February and the Xicrin people in the October issue.
At one point, in 1970, when she was working for the now extinct magazine Setenta, she suggested a fashion piece with the Xicrin-kayapó people. She did receive some criticism for this work, the accusation being that she was making the Xicrin look inferior; when confronted with this, in a 2015 interview in Aperture magazine, she countered that: “For me it was nothing like that. I wanted to show that the Xicrin had their own style, their own inventiveness, that they were creative. But everyone has their own interpretation.”
Claudia used to walk around two cameras when she was working, one with black and white film, and one with color film. The photograph presented here, Xikrin-Kayapó do Cateté, was made with both cameras and the color version was included in the fashion spread for the Setenta edition.
Exhibitions:
— Géométries Sud. Foundation Cartier pour l’art contemporaine, Paris, France (2018-2019)
— A Vulnerabilidade do Ser [The vulnerability of being]; Pinacoteca do Estado; São Paulo; Brazil (2005)
Publications
— A Vulnerabilidade do Ser; a book on the exhibition of the same name, edited by Cosac & Naify; São Paulo; Brazil (2005). The book is out of print – Cosac & Naify folded in 2015.
1970 (2022 print)
Gelatin silver on Ilford Multigrade Classic fibre base (matt), double-weight 255g paper, with selenium toning
Photo ReproductionClaudia Andujar (Neuchatêl, 1931), escaped the German invasion of Hungary – where she was living with her family during the 2nd World War – and the Holocaust, with her swiss mother Germain in 1944 – 1945. Her paternal family perished in the German concentration camps. In 1946, she emigrated to New York to live with her paternal uncle – the only other Holocaust survivor from her father´s family – in the Bronx. She finished high-school, studied humanities at Hunter College, got married to Julio Andujar and worked as a guide at the United Nations’ headquarter. In New York she also studied painting and left for São Paulo, Brazil, in 1955 to live with her mother.
She started photographing as she put, “as a way to getting to know the other”, and travelling extensively in Latin America. During this time, she kept going back to New York where she showed her paintings, in 1953, at the Coeval Gallery together with the painter and cinematographer Ramon Estella (1911-1991).
Encouraged by anthropologist Darcy Ribeiro (1922 – 1997), she visited the Karajá people at the Ilha do Bananal in 1956.
In 1958, Pietro Maria Bardi (1900-1999), director of MASP invites Claudia to conceive, together with artists such as Antonio Gomide, Bruno Giorgi, Candido Portinari, Lasar Segall, Samson Flexor, Tarsila do Amaral, Tomie Ohtake, a major stained glass vitral at the FAAP foundation in São Paulo.
In 1959, MoMA, through Edward Steichen (1879-1973), buys two of her photographs. In 1960, the Spanish version of Life magazine publishes her photographs of the Karajá people. Lew Parrella (1927-2014) sets up her first solo show at the Limelight gallery in New York. She also participates in the exhibition Photographs for Collectors at MoMA (alongside Henri Cartier Bresson, Robert Frank, Minor White among others), which buys two more of her photographs.
In 1961 she makes a documentary on the staunch defender of human rights during the military dictatorship, the progressive religious leader Dom Helder Camera (1909-1999) in the favelas of Rio de Janeiro.
In 1965 she participates in the exhibition The world and Its People at the Kodak pavilion during the World Fair in New York.
Claudia Andujar spent time with the Xicrin-Kayapó people in the southern parts of the state of Pará, Brazil, on several occasions, in 1966, 1969 and 1970.
Her first stay, in 1966, was when she spent a month getting to know them and also doing some photographing.
In 1968 The New York Times Magazine (Janeiro) publishes a cover with a Xicrin by Claudia Andujar.
In 1969 The magazine Natural History of the American Museum of Natural History publishes photos by Claudia Andujar of the Quéchua people in February and the Xicrin people in the October issue.
At one point, in 1970, when she was working for the now extinct magazine Setenta, she suggested a fashion piece with the Xicrin-kayapó people. She did receive some criticism for this work, the accusation being that she was making the Xicrin look inferior; when confronted with this, in a 2015 interview in Aperture magazine, she countered that: “For me it was nothing like that. I wanted to show that the Xicrin had their own style, their own inventiveness, that they were creative. But everyone has their own interpretation.”
Claudia used to walk around two cameras when she was working, one with black and white film, and one with color film. The photograph presented here, Xikrin-Kayapó do Cateté, was made with both cameras and the color version was included in the fashion spread for the Setenta edition.
Exhibitions:
— Géométries Sud. Foundation Cartier pour l’art contemporaine, Paris, France (2018-2019)
— A Vulnerabilidade do Ser [The vulnerability of being]; Pinacoteca do Estado; São Paulo; Brazil (2005)
Publications
— A Vulnerabilidade do Ser; a book on the exhibition of the same name, edited by Cosac & Naify; São Paulo; Brazil (2005). The book is out of print – Cosac & Naify folded in 2015.
Gelatin silver on Ilford Multigrade Classic fibre base (matt), double-weight 255g paper, with selenium toning
Photo Reproduction
Claudia Andujar (Neuchatêl, 1931), escaped the German invasion of Hungary – where she was living with her family during the 2nd World War – and the Holocaust, with her swiss mother Germain in 1944 – 1945. Her paternal family perished in the German concentration camps. In 1946, she emigrated to New York to live with her paternal uncle – the only other Holocaust survivor from her father´s family – in the Bronx. She finished high-school, studied humanities at Hunter College, got married to Julio Andujar and worked as a guide at the United Nations’ headquarter. In New York she also studied painting and left for São Paulo, Brazil, in 1955 to live with her mother.
She started photographing as she put, “as a way to getting to know the other”, and travelling extensively in Latin America. During this time, she kept going back to New York where she showed her paintings, in 1953, at the Coeval Gallery together with the painter and cinematographer Ramon Estella (1911-1991).
Encouraged by anthropologist Darcy Ribeiro (1922 – 1997), she visited the Karajá people at the Ilha do Bananal in 1956.
In 1958, Pietro Maria Bardi (1900-1999), director of MASP invites Claudia to conceive, together with artists such as Antonio Gomide, Bruno Giorgi, Candido Portinari, Lasar Segall, Samson Flexor, Tarsila do Amaral, Tomie Ohtake, a major stained glass vitral at the FAAP foundation in São Paulo.
In 1959, MoMA, through Edward Steichen (1879-1973), buys two of her photographs. In 1960, the Spanish version of Life magazine publishes her photographs of the Karajá people. Lew Parrella (1927-2014) sets up her first solo show at the Limelight gallery in New York. She also participates in the exhibition Photographs for Collectors at MoMA (alongside Henri Cartier Bresson, Robert Frank, Minor White among others), which buys two more of her photographs.
In 1961 she makes a documentary on the staunch defender of human rights during the military dictatorship, the progressive religious leader Dom Helder Camera (1909-1999) in the favelas of Rio de Janeiro.
In 1965 she participates in the exhibition The world and Its People at the Kodak pavilion during the World Fair in New York.
Claudia Andujar spent time with the Xicrin-Kayapó people in the southern parts of the state of Pará, Brazil, on several occasions, in 1966, 1969 and 1970.
Her first stay, in 1966, was when she spent a month getting to know them and also doing some photographing.
In 1968 The New York Times Magazine (Janeiro) publishes a cover with a Xicrin by Claudia Andujar.
In 1969 The magazine Natural History of the American Museum of Natural History publishes photos by Claudia Andujar of the Quéchua people in February and the Xicrin people in the October issue.
At one point, in 1970, when she was working for the now extinct magazine Setenta, she suggested a fashion piece with the Xicrin-kayapó people. She did receive some criticism for this work, the accusation being that she was making the Xicrin look inferior; when confronted with this, in a 2015 interview in Aperture magazine, she countered that: “For me it was nothing like that. I wanted to show that the Xicrin had their own style, their own inventiveness, that they were creative. But everyone has their own interpretation.”
Claudia used to walk around two cameras when she was working, one with black and white film, and one with color film. The photograph presented here, Xikrin-Kayapó do Cateté, was made with both cameras and the color version was included in the fashion spread for the Setenta edition.
Exhibitions:
— Géométries Sud. Foundation Cartier pour l’art contemporaine, Paris, France (2018-2019)
— A Vulnerabilidade do Ser [The vulnerability of being]; Pinacoteca do Estado; São Paulo; Brazil (2005)
Publications
— A Vulnerabilidade do Ser; a book on the exhibition of the same name, edited by Cosac & Naify; São Paulo; Brazil (2005). The book is out of print – Cosac & Naify folded in 2015.
27,5 x 41,3 inches
Gelatin silver on Ilford Multigrade Classic fibre base (matt), double-weight 255g paper, with selenium toning
Photo ReproductionClaudia Andujar (Neuchatêl, 1931), escaped the German invasion of Hungary – where she was living with her family during the 2nd World War – and the Holocaust, with her swiss mother Germain in 1944 – 1945. Her paternal family perished in the German concentration camps. In 1946, she emigrated to New York to live with her paternal uncle – the only other Holocaust survivor from her father´s family – in the Bronx. She finished high-school, studied humanities at Hunter College, got married to Julio Andujar and worked as a guide at the United Nations’ headquarter. In New York she also studied painting and left for São Paulo, Brazil, in 1955 to live with her mother.
She started photographing as she put, “as a way to getting to know the other”, and travelling extensively in Latin America. During this time, she kept going back to New York where she showed her paintings, in 1953, at the Coeval Gallery together with the painter and cinematographer Ramon Estella (1911-1991).
Encouraged by anthropologist Darcy Ribeiro (1922 – 1997), she visited the Karajá people at the Ilha do Bananal in 1956.
In 1958, Pietro Maria Bardi (1900-1999), director of MASP invites Claudia to conceive, together with artists such as Antonio Gomide, Bruno Giorgi, Candido Portinari, Lasar Segall, Samson Flexor, Tarsila do Amaral, Tomie Ohtake, a major stained glass vitral at the FAAP foundation in São Paulo.
In 1959, MoMA, through Edward Steichen (1879-1973), buys two of her photographs. In 1960, the Spanish version of Life magazine publishes her photographs of the Karajá people. Lew Parrella (1927-2014) sets up her first solo show at the Limelight gallery in New York. She also participates in the exhibition Photographs for Collectors at MoMA (alongside Henri Cartier Bresson, Robert Frank, Minor White among others), which buys two more of her photographs.
In 1961 she makes a documentary on the staunch defender of human rights during the military dictatorship, the progressive religious leader Dom Helder Camera (1909-1999) in the favelas of Rio de Janeiro.
In 1965 she participates in the exhibition The world and Its People at the Kodak pavilion during the World Fair in New York.
Claudia Andujar spent time with the Xicrin-Kayapó people in the southern parts of the state of Pará, Brazil, on several occasions, in 1966, 1969 and 1970.
Her first stay, in 1966, was when she spent a month getting to know them and also doing some photographing.
In 1968 The New York Times Magazine (Janeiro) publishes a cover with a Xicrin by Claudia Andujar.
In 1969 The magazine Natural History of the American Museum of Natural History publishes photos by Claudia Andujar of the Quéchua people in February and the Xicrin people in the October issue.
At one point, in 1970, when she was working for the now extinct magazine Setenta, she suggested a fashion piece with the Xicrin-kayapó people. She did receive some criticism for this work, the accusation being that she was making the Xicrin look inferior; when confronted with this, in a 2015 interview in Aperture magazine, she countered that: “For me it was nothing like that. I wanted to show that the Xicrin had their own style, their own inventiveness, that they were creative. But everyone has their own interpretation.”
Claudia used to walk around two cameras when she was working, one with black and white film, and one with color film. The photograph presented here, Xikrin-Kayapó do Cateté, was made with both cameras and the color version was included in the fashion spread for the Setenta edition.
Exhibitions:
— Géométries Sud. Foundation Cartier pour l’art contemporaine, Paris, France (2018-2019)
— A Vulnerabilidade do Ser [The vulnerability of being]; Pinacoteca do Estado; São Paulo; Brazil (2005)
Publications
— A Vulnerabilidade do Ser; a book on the exhibition of the same name, edited by Cosac & Naify; São Paulo; Brazil (2005). The book is out of print – Cosac & Naify folded in 2015.
cowhide marquetry
Photo Vermelho
In his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.
44 x 43 cm
cowhide marquetry
Photo VermelhoIn his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.
cowhide marquetry
Photo Vermelho
In his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.
30 x 34 cm
cowhide marquetry
Photo VermelhoIn his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.
cowhide marquetry
Photo Vermelho
In his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.
18 x 19 cm
cowhide marquetry
Photo VermelhoIn his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.