Edgard applies a modular articulation to his work in his new bronze sculpture Untitled (2018). The work – produced within the logic of technical reproducibility – assume a new self-activated character being able to exist individually, as an edition, or as a new single work composed of various editions from the same matrix. The sculpture poses itself on tables, on the wall and also on the floor without having a correct final position for contemplation.

Cama [Bed] and Ecosto [backrest] originate from the room Edgard occupied at his parents’ home in São Paulo during his youth. The furniture of the room was composed of pieces from Hobjeto, a company founded in 1964 by the artist and designer Geraldo de Barros (1923-1998). Hobjeto’s designs carried in them the constructive mark of the work of de Barros. Its modular furniture was produced using the same techniques as in de Barros’ Formica paintings. The artistic production of de Barros was constructed from the deconstruction and fragmen-tation of both images and actions – procedures mirrored by de Souza who unfolds the pieces of his private childhood space into abstract and reart-iculated fractions. Moreover, the works carry within them their formative environment both in appreci-ation of form and in method of construction. Cama and Encosto depart from the figurative object of its original form to return as the concrete abstractions found in the works of de Barros.

Edgard applies a modular articulation to his work in his new bronze sculpture Untitled (2018). The work – produced within the logic of technical reproducibility – assume a new self-activated character being able to exist individually, as an edition, or as a new single work composed of various editions from the same matrix. The sculpture poses itself on tables, on the wall and also on the floor without having a correct final position for contemplation.

Torneira [Faucet] (2018) is a mundane object that surges with life. This piece is from a series of faucets of outsized proportions that de Souza has been working on since the 1990s. From the mouth of the gold-plated bronze faucet flows a large drop resembling human secretion.

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 sculpted wooden spoons the artist presents in the exhibition. These apparently trivial objects, now endowed with impulses and desires, were meticulously sculpted from rare wood logs of mahogany and jacaranda from Bahia. 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. In Colher de pau – cara de pau (pinoquio) / Wooden Spoon – stick face (pinocchio) the utensil becomes as malicious as the character of Carlo Collodi – the lying spoon has its nose stretched out. Colher de pau – cara de pau / Wooden spoon – stick face is cheeky and sticks its tongue to the observer.

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 sculpted wooden spoons the artist presents in the exhibition. These apparently trivial objects, now endowed with impulses and desires, were meticulously sculpted from rare wood logs of mahogany and jacaranda from Bahia. 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. In Colher de pau – cara de pau (pinoquio) / Wooden Spoon – stick face (pinocchio) the utensil becomes as malicious as the character of Carlo Collodi – the lying spoon has its nose stretched out. Colher de pau – cara de pau / Wooden spoon – stick face is cheeky and sticks its tongue to the observer.

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 sculpted wooden spoons the artist presents in the exhibition. These apparently trivial objects, now endowed with impulses and desires, were meticulously sculpted from rare wood logs of mahogany and jacaranda from Bahia. 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. In Colher de pau – cara de pau (pinoquio) / Wooden Spoon – stick face (pinocchio) the utensil becomes as malicious as the character of Carlo Collodi – the lying spoon has its nose stretched out. Colher de pau – cara de pau / Wooden spoon – stick face is cheeky and sticks its tongue to the observer.

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 sculpted wooden spoons the artist presents in the exhibition. These apparently trivial objects, now endowed with impulses and desires, were meticulously sculpted from rare wood logs of mahogany and jacaranda from Bahia. 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. In Colher de pau – cara de pau (pinoquio) / Wooden Spoon – stick face (pinocchio) the utensil becomes as malicious as the character of Carlo Collodi – the lying spoon has its nose stretched out. Colher de pau – cara de pau / Wooden spoon – stick face is cheeky and sticks its tongue to the observer.

Cama [Bed] and Ecosto [backrest] originate from the room Edgard occupied at his parents’ home in São Paulo during his youth. The furniture of the room was composed of pieces from Hobjeto, a company founded in 1964 by the artist and designer Geraldo de Barros (1923-1998). Hobjeto’s designs carried in them the constructive mark of the work of de Barros. Its modular furniture was produced using the same techniques as in de Barros’ Formica paintings. The artistic production of de Barros was constructed from the deconstruction and fragmentation of both images and actions – procedures mirrored by de Souza who unfolds the pieces of his private childhood space into abstract and rearticulated fractions. Moreover, the works carry within them their formative environment both in appreciation of form and in method of construction. Cama and Encosto depart from the figurative object of its original form to return as the concrete abstractions found in the works of de Barros.

A typical mid-twentieth century chair appears ruined in Cadeira [Chair] (2018). The chair seems to be in full detonation, breaking up on all sides. The deconstruction of the piece resembles the movement of some of Edgard’s embroideries; and, it is also related to the non-centrality of the bronze Untitled and the modular characteristic of Cama.

Edgard takes his “imprecise” scribbles – as seen in his recent solo show – and inverts them into a combined construction using cotton thread on linen surfaces. In the current show, the “action drawing” is taken in a different way by creating friction between the spontaneous and the planned construction. The embroideries can be as erratic as scribbles – or punctual – as if they formed infections on the fabric. In both cases, they have in common the evidencing of the volume constructed from accumulation of material forming protuberances and thus breaking the bidimensional.

Edgard takes his “imprecise” scribbles – as seen in his recent solo show – and inverts them into a combined construction using cotton thread on linen surfaces. In the current show, the “action drawing” is taken in a different way by creating friction between the spontaneous and the planned construction. The embroideries can be as erratic as scribbles – or punctual – as if they formed infections on the fabric. In both cases, they have in common the evidencing of the volume constructed from accumulation of material forming protuberances and thus breaking the bi-dimensional.

Edgard takes his “imprecise” scribbles – as seen in his recent solo show – and inverts them into a combined construction using cotton thread on linen surfaces. In the current show, the “action drawing” is taken in a different way by creating friction between the spontaneous and the planned construction. The embroideries can be as erratic as scribbles – or punctual – as if they formed infections on the fabric. In both cases, they have in common the evidencing of the volume constructed from accumulation of material forming protuberances and thus breaking the bidimensional.

Edgard takes his “imprecise” scribbles – as seen in his recent solo show – and inverts them into a combined construction using cotton thread on linen surfaces. In the current show, the “action drawing” is taken in a different way by creating friction between the spontaneous and the planned construction. The embroideries can be as erratic as scribbles – or punctual – as if they formed infections on the fabric. In both cases, they have in common the evidencing of the volume constructed from accumulation of material forming protuberances and thus breaking the bi-dimensional.

In Crib, de Souza rearticulates parts of a crib found by him in the house to which he moved. The swan-shaped piece featured a sophisticated carving work that appears here, celebrated by the artist.