The works in this series examine different human interventions on Earth. These works were created from Moscheta’s immersion in the Atacama Desert, where the artist encountered trails made by ancestral peoples.
Trails point to the relationship with the movement of the body through space and can be interpreted as drawings on the planet’s surface. The apacheta made by the artist in the desert creates another small intervention on the landscape, pointing to issues related to scale.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

Dolmens are megalithic structures composed of large stones used as tombs in the Chalcolithic period, between 3300 and 1200 BCE. As they conform to a kind of shelter, their structures consider the body in terms of scale. The installation, made from frottages (or rubbings) of the Dolmen of Arca, located in the municipality of Viseu, Portugal, unfolds the monument allowing the public to move through its index.

For the frottage of the Dolmen, it was necessary to find a soft and resistant material that could withstand the harshness of the friction between the chalk and the granite of the Dolmen. Thus, Tyvek® supported Moscheta’s project, providing a highly technological, abrasion-resistant material. The material allowed the chalk to rub against the granite, ensuring the integrity of the drawing and the movement of something as immobile and fixed as the 5000-year-old structure of the Dolmen of Arca through its index.

Dolmens are megalithic structures composed of large stones used as tombs in the Chalcolithic period, between 3300 and 1200 BCE. As they conform to a kind of shelter, their structures consider the body in terms of scale. The installation, made from frottages (or rubbings) of the Dolmen of Arca, located in the municipality of Viseu, Portugal, unfolds the monument allowing the public to move through its index.

For the frottage of the Dolmen, it was necessary to find a soft and resistant material that could withstand the harshness of the friction between the chalk and the granite of the Dolmen. Thus, Tyvek® supported Moscheta’s project, providing a highly technological, abrasion-resistant material. The material allowed the chalk to rub against the granite, ensuring the integrity of the drawing and the movement of something as immobile and fixed as the 5000-year-old structure of the Dolmen of Arca through its index.

Dolmens are megalithic structures composed of large stones used as tombs in the Chalcolithic period, between 3300 and 1200 BCE. As they conform to a kind of shelter, their structures consider the body in terms of scale. The installation, made from frottages (or rubbings) of the Dolmen of Arca, located in the municipality of Viseu, Portugal, unfolds the monument allowing the public to move through its index.

For the frottage of the Dolmen, it was necessary to find a soft and resistant material that could withstand the harshness of the friction between the chalk and the granite of the Dolmen. Thus, Tyvek® supported Moscheta’s project, providing a highly technological, abrasion-resistant material. The material allowed the chalk to rub against the granite, ensuring the integrity of the drawing and the movement of something as immobile and fixed as the 5000-year-old structure of the Dolmen of Arca through its index.

In Substância [Substance] (2024), Moscheta inserts a salt rock into a photograph taken during one of his expeditions to a salt cave in Colombia. The work simultaneously documents and conveys his presence in the cave.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

Questions about the nature of time guide Sedimentar [Sedimentary] (2024). This series of paintings by Moscheta is created from the sedimentation of limestone derived from coccoliths. These masses of calcium carbonate are produced by algae as a form of protection. When the algae die, the coccoliths are released into the marine environment. Moscheta makes a watery pigment with the limestone powder from the coccoliths to paint surfaces prepared with acrylic gesso. The artist moves this paint across the field until it settles on the support. Moscheta returns the sedimentary rock of the coccoliths to the water, restoring the elasticity of the algae to the material. The image of the paintings resembles blurred bones, proposing a multiple pathway between materials. The temporal and material interplay of Sedimentar raises questions about the nature of creation and destruction in art.

Questions about the nature of time guide Sedimentar [Sedimentary] (2024). This series of paintings by Moscheta is created from the sedimentation of limestone derived from coccoliths. These masses of calcium carbonate are produced by algae as a form of protection. When the algae die, the coccoliths are released into the marine environment. Moscheta makes a watery pigment with the limestone powder from the coccoliths to paint surfaces prepared with acrylic gesso. The artist moves this paint across the field until it settles on the support. Moscheta returns the sedimentary rock of the coccoliths to the water, restoring the elasticity of the algae to the material. The image of the paintings resembles blurred bones, proposing a multiple pathway between materials. The temporal and material interplay of Sedimentar raises questions about the nature of creation and destruction in art.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In the series Parábola, Moscheta proposes another temporal displacement through a photograph taken by his father during fieldwork at the Horto Florestal de Maringá (Paraná) in 1981. A botanist by profession, his father captured an image of a colleague, accompanied by his son, with a pruning stick.

The work operates through the repetition of elements related to logic (the grid of the slate chalkboard, the grid of the linen) to investigate the playful learning moment recorded in the photograph and to create compositions where teaching and freedom come together. In the piece, experience and orality overlap with the formality of the chalkboard represented by the slate stone.

In the series Parábola, Moscheta proposes another temporal displacement through a photograph taken by his father during fieldwork at the Horto Florestal de Maringá (Paraná) in 1981. A botanist by profession, his father captured an image of a colleague, accompanied by his son, with a pruning stick.

The work operates through the repetition of elements related to logic (the grid of the slate chalkboard, the grid of the linen) to investigate the playful learning moment recorded in the photograph and to create compositions where teaching and freedom come together. In the piece, experience and orality overlap with the formality of the chalkboard represented by the slate stone.

In the series Parábola, Moscheta proposes another temporal displacement through a photograph taken by his father during fieldwork at the Horto Florestal de Maringá (Paraná) in 1981. A botanist by profession, his father captured an image of a colleague, accompanied by his son, with a pruning stick.

The work operates through the repetition of elements related to logic (the grid of the slate chalkboard, the grid of the linen) to investigate the playful learning moment recorded in the photograph and to create compositions where teaching and freedom come together. In the piece, experience and orality overlap with the formality of the chalkboard represented by the slate stone.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

In his multiple expeditions, Moscheta collects rocks, fossils, documents, and a myriad of elements. Part of this material forms the series Autopoiesis (2024), where elements from different walks are articulated in a logic of production grounded in characteristics of conceptualism, such as the intervention and combination of elements, the use of texts as images, the use of documentation, and the contextualization of components. These works bring different experiences closer together, like a glossary of possibilities that is tensioned in new combinations. In biology and philosophy, the term autopoiesis describes systems that are capable of creating and maintaining themselves from within.

The mobility of humans between spaces is celebrated in Jeremias, which features a prophecy from the Bible, specifically from the Book of Jeremiah, Chapter 35:7, inscribed on fragments of ceramics from various origins: “All your days ye shall dwell in tents, that ye may live many days in the land where ye are strangers.”

Like an archaeological excavation, the work proposes the ruin of the condition of building and material accumulation in favor of a constant state of displacement.