301 x 389 x 10 cm
Oil paint, acrylic paint, spray paint, oil pastel, charcoal, brass, raw cotton, interlining, lycra, cardboard, canvas, chair lining and felt on wood mounted on battens
Photo Vermelho“Tornadoes are phenomena that make things happen. Wherever they pass, human life cannot sustain itself and the landscape is altered, creating fertility or destruction. For humans, they can only be observed, seen from afar. In this painting, they emerge from the canvas because it couldn’t contain them.”
Meia
135 x 273 cm
Acrylic paint, oil paint, dry pastel, oil pastel, masking tape, canvas, voile, satin and cotton on cork, wood and MDF mounted on lath
Photo Filipe Berndt
182 x 155 cm
Oil paint, acrylic paint, palm oil, oil pastel, cotton paper, laminated paper, chamois paper, canvas, felt and canvas on wood mounted on a slat
Photo Filipe Berndt
51 x 41 cm
Acrylic paint, oil paint, encaustic, canvas, thermal canvas, tissue paper, oil pastel, charcoal and white glue on discarded drawer
Photo Filipe Berndt“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
190 x 140 cm
Oil paint, acrylic paint, oil stick, dry pastel, charcoal, tissue paper, satin, bath towel and encaustic on raw cotton and MDF mounted on wooden batten
Photo Filipe Berndt
61 x 53 cm
Oil paint, acrylic paint, encaustic, oil pastel, dry pastel, charcoal, leather and sheet on discarded drawer
Photo Filipe Berndt“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
57 x 52 cm
Oil paint, acrylic paint, silkscreen paint, dry pastel, oil stick, colored glue, satin, felt, linen, cardboard, matchstick, charcoal, gold pigment and string on resined wood mounted on a wooden slat
Photo Vermelho“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
50 x 51 cm
Acrylic, oil, dry pastel, oil pastel, canvas, thermal canvas, fleece and bath towel on wood mounted on slat
Photo Vermelho
58 x 55 cm
Acrylic, oil, encaustic, oil pastel, dry pastel, charcoal, bed sheet and leather on wood from a desk
Photo Vermelho“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
50 x 45 cm
Acrylic, oil, oil pastel, dry pastel, charcoal, canvas, iridescent paper and string on wood mounted on a slat
Photo Vermelho“Irmãos [brothers] is the name I give to graphic marks that I add to compositions, aiming to distance them from painting and make them something more familiar. They are structural elements of the works that operate in the realm between figuration and abstraction.”
Meia
160 x 215 x 8 cm
Oil paint, acrylic paint, oil stick, encaustic, canvas, lath, glue, masking tape, duct tape, kraft tape, automotive spray, plastic paper, leather, paint extender and charcoal on MDF and canvas mounted on lath
Photo Vermelho
160 x 206 x 3 cm
Oil paint, acrylic paint, oil pastel, suede paper, plastic paper, wood, felt, glue and charcoal on MDF mounted on a slat
Photo Vermelho
256 x 192 x 24 cm
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
256 x 192 x 24 cm
Oil paint, acrylic paint, silkscreen paint, encaustic paint, varnish, oily stick, suede, glue, paraná paper, plastic paper, brass, cement, gravel, earth and Iansã swords on plasticized wood mounted on a lath
Photo Vermelho“The Crossing of Souls is a regulator, a portal between day and night, where the strength of souls resides.”
Meia
176 x 170 cm
Acrylic paint, oil paint, newsprint, automotive spray, charcoal and string on mounted wood
175 x 170 x 4 cm
Tissue paper, gum arabic, acrylic paint, oil paint, oil stick, leather, and charcoal on hardboard and MDF mounted on slats
Photo Vermelho“This painting begins with these sticks that survived a bonfire, likely made by someone experiencing homelessness trying to stay warm. They are remnants of a landscape that I used to structure this other landscape depicting a well, a place for water collection from underground, which could also serve as a pool for diving.”
Meia
129 x 91 cm
Oil paint, acrylic paint, cardboard and satin on canvas mounted on wooden frame
192 x 130 cm
Oil paint, acrylic paint, cardboard, canvas and masking tape on canvas mounted on wooden slats
100 x 140 cm
Oil paint, synthetic enamel, plasticized paper, flannel, tar and aluminum on wood
143 x 200 cm
Oil paint, acrylic paint, synthetic enamel, spray paint and soap on wood nailed on canvas
Meia’s practice is grounded in research around landscape painting, its forms, history, and meanings. Meia’s landscapes begin to take shape through the artist’s movements, whether through his travels along the streets or through his circles of affection. Both circuits equip the artist with materials for the elaboration of his paintings. In the street, he identifies, selects, and collects elements with constructive potential; from his affection, he is presented with elements that carry tonic and symbolic qualities.
His compositions, therefore, are based on grids that detach from rationality, order, and neutrality, to develop from contextual subjectivities, the fragmentation of stories, and hybridism. Although his constructions are based on collages of materials with different intrinsic values, his practice includes classic and noble painting techniques and materials, such as encaustic, oil paint, oil stick, and charcoal. These materials coexist with assemblages of different papers, leathers, fabrics, pieces of towels, epoxy paint, hardware scraps, and felts, all in search of pictorial elaborations.
The themes of his paintings bring this myriad of elements together in the representation of horizons structured by roads. These paths reflect the observer’s journey in search of the multiple stories that make up his scenes.
Meia’s practice is grounded in research around landscape painting, its forms, history, and meanings. Meia’s landscapes begin to take shape through the artist’s movements, whether through his travels along the streets or through his circles of affection. Both circuits equip the artist with materials for the elaboration of his paintings. In the street, he identifies, selects, and collects elements with constructive potential; from his affection, he is presented with elements that carry tonic and symbolic qualities.
His compositions, therefore, are based on grids that detach from rationality, order, and neutrality, to develop from contextual subjectivities, the fragmentation of stories, and hybridism. Although his constructions are based on collages of materials with different intrinsic values, his practice includes classic and noble painting techniques and materials, such as encaustic, oil paint, oil stick, and charcoal. These materials coexist with assemblages of different papers, leathers, fabrics, pieces of towels, epoxy paint, hardware scraps, and felts, all in search of pictorial elaborations.
The themes of his paintings bring this myriad of elements together in the representation of horizons structured by roads. These paths reflect the observer’s journey in search of the multiple stories that make up his scenes.
Meia
1994. São Paulo
lives and works in São Paulo
Solo shows
2024
– Meia. Terra Alheia – Galeria Vermelho – São Paulo – Brasil
2023
– Meia. Caprichos – Gruta – São Paulo – Brasil
2022
– Aquele morto em seu jardim — 25M Sala de Projetos – São Paulo – Brasil
Group shows
2024
– 51 ̊ Salão de Arte Contemporânea Luiz Sacilotto – Santo André – São Paulo
– O meio é a massagem— Galeria Simões de Assis – São Paulo – Brasil
2022
– Verbo Mostra de Performance Arte (17ª edição) – Galeria Vermelho – São Paulo – Brasil
2020
– 16 ̊ Salão de Guarulhos — Centro Municipal de Educação Adamastor – Guarulhos – Brasil
2019
– 28 ̊ Programa Nascente — Centro MariAntonia – São Paulo – Brasil
– CRIPTA — Galeria Vermelho – São Paulo – Brasil
2018
– Organizar as lutas, implicar tudo — Casa do Povo – São Paulo – Brasil
– Verbo Mostra de Performance Arte (15ª edição) – Galeria Vermelho – São Paulo – Brasil
2017
– 28 ̊ Mostra de artes da juventude — SESC Ribeirão Preto – Brasil
– 25 ̊ Programa Nascente — Museu de Arte Contemporânea [MAC – USP] – São Paulo – Brasil
– ainda não – Galeria Vermelho – São Paulo – Brasil
2015
– 23 ̊ Programa Nascente — Centro MariAntonia – São Paulo – Brasil
Teaching
2023 – 2024
Professor de Ideias Criativas para Fundamental II — Ciclo Roda Viva
2023
Professor convidado — Escola Britânica de Artes Criativas e Tecnologias
2023 – 2022
Professor-assistente de artes — Colégio Oswald de Andrade
Prizes
2019
– Lei Aldir Blanc – Grupo de Maracatu Ouro do Congo
– 28 ̊ Programa Nascente
– 51 ̊ Salão Sacilotto Prêmio Aquisição – Secretaria da Cultura de Santo André – Primeiro colocado na categoria de Artes Visuais.
Public Collections
– Acervo Artístico da Casa do Olhar Luiz Sacilotto – Prefeitura Municipal de Santo André – Santo André – São Paulo
A série de pinturas que tem como principal motor o trabalho de Goya partem sempre de um mesmo procedimento: a impressão de baixa qualidade de gravuras encontradas na internet para serem coladas em telas pré-produzidas e depois serem pintadas. O resultado é uma pintura em cima de uma impressão. As duas principais referências são “Los Disparates” e “Los Caprichos”, séries de gravuras que Goya se dedicou durante a vida toda em paralelo a sua produção pictórica. Naquele contexto, e devido ao seu afastamento da corte após ser acusado de heresia na Espanha, Goya acaba se dedicando a expor através das gravuras (que possuem uma circulação totalmente diferente da pintura, atingindo outros componentes sociais) características da sociedade hipócrita e violenta na qual vivia.
O trabalho de Goya sempre interessou minha produção na faculdade, mas mesmo antes quando folheava livros do tipo grandes mestres da pintura era nele que se enlaçava um desejo de saber mais e uma estranheza daquelas que faz querer fazer algo com aquilo. Ainda tenho diversos desenhos que apresentam releituras de pinturas famosas, mas mais especificamente das pinturas negras, pintadas sobre as paredes de sua casa quando estava isolado e surdo próximo ao fim de sua vida.
No caso das séries as quais me dedico atualmente, a vontade de produzir uma imagem que partisse daquele contexto e fosse atualizada para o cenário que compartilho na minha vida foi o mote da produção. A força que essas imagens carregam não se perdeu na história mas, pelo contrário, parecem cada vez mais ligadas a um tipo de fenômeno atual que relaciona política e loucura, violência e medo de viver. Foi assim que tomei a decisão de trabalhar num procedimento tecnicamente tosco (impressão de baixa qualidade e colagem em tela pré produzida) mas pintado com tinta óleo sem diluição. A tinta é retirada do tubo e colocada em cima de uma superfície como jornal para que seque enquanto as áreas da gravura são coloridas como num livro de colorir infantil. Primeiro eu vejo quais são as figuras que Goya apresenta, depois círculo elas com um lápis grafite para facilitar (já que às vezes a baixa qualidade da impressão borra os contornos) e em seguida aplico a tinta óleo. Não existe degradê nas cores, ou seja, não busco num mesmo campo circulado ter diferença tonal. Apenas a tinta preparada numa mesma cor pinta um espaço delimitado pelo lápis. Além disso, a espessura da tinta também produz um efeito de apagamento daquela folha sulfite colada na tela.
