The sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.

The sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.

Anexo 1 is an installation where, from the local wall, an extension that protrudes into space is built up, an internal marquee. This element without function is supported by a structure of wooden rods, marked with letters and numbers, believing on the assumption that this temporary skeleton can be reassembled. The ambivalent relationship between the two opposing elements – the temporary structure and the seemingly concrete marquee – simulates a symbiosis and apparent reversal of what could be seen as an annex of the local architecture. An extension that does not have function creates both aesthetic and physical discomfort, since it does not support its own weight and needs to be supported by a structure of wooden rods, commonly used to provide temporary support to the construction.

In the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.

In the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.

In “Falha Estrutural” (Structural Failure) the error becomes protagonist and appears in images of modernist buildings, creating a visual narrative about the bankruptcy, according to the artist, that permeates the modernist project in Brazil.

A bird trap, typical from childrens games, is made with a box for exportation of Brazilian products. The bait is a piece of wire mesh concrete, typical from the architectural model of the modernist project.