







Photo Vermelho
Photo Vermelho
Fine Art printing with UltraChrome pigmented inks on Hahnemühle Photo Rag® Satin 310g paper
Photo reproduction
60 x 85 cm
Fine Art printing with UltraChrome pigmented inks on Hahnemühle Photo Rag® Satin 310g paper
Photo reproductionPrinting with pigmented mineral ink on Kozo 110 gr paper and embroidery with metallic filaments.
Photo Vermelho
Travertino rock formation appear in the series Skena in aqua (Microlandscapes), 2018. Photographs of the rock, of the marble family, are embroidered by Tavares with metallic filaments revealing the impurities resulting from their formation process. This “contaminated” material carries in itself the memory in the form of fossils of branches, leaves and imperfections. These are embedded in the deposits of materials in more or less parallel bands created by the action of water in contact with the rock over time. Travertino contains the history of architecture in itself: it has been used for thousands of years, from Ancient Rome to the present day. It was also one of the most used stones in modernist architecture.
100 x 120 x 20 cm
Printing with pigmented mineral ink on Kozo 110 gr paper and embroidery with metallic filaments.
Photo VermelhoTravertino rock formation appear in the series Skena in aqua (Microlandscapes), 2018. Photographs of the rock, of the marble family, are embroidered by Tavares with metallic filaments revealing the impurities resulting from their formation process. This “contaminated” material carries in itself the memory in the form of fossils of branches, leaves and imperfections. These are embedded in the deposits of materials in more or less parallel bands created by the action of water in contact with the rock over time. Travertino contains the history of architecture in itself: it has been used for thousands of years, from Ancient Rome to the present day. It was also one of the most used stones in modernist architecture.
Printing with pigmented mineral ink on Hahnemühle Photo Rag paper 308 gr. Acrylic and aluminum
Photo Edouard Fraipont
The Airshafts by tavares reproduce an uneasily breathing world that constantly breaks into a mirrored and fragmented perspective. The prisons of Piranesi, Carceri d’invenzione, or imaginary prisons, influenced Tavares in the development of her take on a mechanized life for the production of these works. The Carceris by Piranesi are a series of 16 engravings depicting enormous subterranean vaults with stairs and powerful machines. The rotations, suggested by Tavares, with her work and that of Piranesi culminated in the 2015 exhibition held at the Museum Lasar
Segal, in São Paulo, titled Cárceres a duas vozes (Carceres with two voices).
136 x 240 x 2,5 cm
Printing with pigmented mineral ink on Hahnemühle Photo Rag paper 308 gr. Acrylic and aluminum
Photo Edouard FraipontThe Airshafts by tavares reproduce an uneasily breathing world that constantly breaks into a mirrored and fragmented perspective. The prisons of Piranesi, Carceri d’invenzione, or imaginary prisons, influenced Tavares in the development of her take on a mechanized life for the production of these works. The Carceris by Piranesi are a series of 16 engravings depicting enormous subterranean vaults with stairs and powerful machines. The rotations, suggested by Tavares, with her work and that of Piranesi culminated in the 2015 exhibition held at the Museum Lasar
Segal, in São Paulo, titled Cárceres a duas vozes (Carceres with two voices).
Photo Vermelho
Mineral pigmented inkjet print on Hahnemühle Fine Art Photo Rag 308g paper on aluminum plate and laser engraving in copper plate
Photo Vermelho
In the series ‘Fixos e Fluxos’ [Fixed and Flow], sets of schematically composed aluminum sheets shows satellite photos of the Atacama Desert. To each quadrant, Moscheta has attached a small copper plaque with the geographic coordinates of that space, registered by him during his journey through the region in 2012.
Moscheta’s journey through the Atacama territory becomes distanced through the view of the satellite image, stripping away the journey’s vastness and natural elements. In Moscheta’s words, “My method for constructing this work resembles that of the ancient cartographers, where the experience of the traveler came previous to the representation of the territory.
The map was only produced after the cartographer visited the place to be mapped, so the cartographer’s experience became part of the representation. In this work, the satellite’s mechanical eye finds the area I visited through coordinates. My geographical movement determined the choice of the image – a landscape never seen before by me, though there were the marks of my boots on the ground.”
96 x 128 cm
Mineral pigmented inkjet print on Hahnemühle Fine Art Photo Rag 308g paper on aluminum plate and laser engraving in copper plate
Photo VermelhoIn the series ‘Fixos e Fluxos’ [Fixed and Flow], sets of schematically composed aluminum sheets shows satellite photos of the Atacama Desert. To each quadrant, Moscheta has attached a small copper plaque with the geographic coordinates of that space, registered by him during his journey through the region in 2012.
Moscheta’s journey through the Atacama territory becomes distanced through the view of the satellite image, stripping away the journey’s vastness and natural elements. In Moscheta’s words, “My method for constructing this work resembles that of the ancient cartographers, where the experience of the traveler came previous to the representation of the territory.
The map was only produced after the cartographer visited the place to be mapped, so the cartographer’s experience became part of the representation. In this work, the satellite’s mechanical eye finds the area I visited through coordinates. My geographical movement determined the choice of the image – a landscape never seen before by me, though there were the marks of my boots on the ground.”
photolith film, Pantone® code table and acrylic
Photo Marcelo Moschetta
By contrasting photoliths with Pantone color charts, Moscheta makes his own translations of the lush natural landscapes depicted in the Atacama. Using strategies linked to the classification and cataloging of files, Moscheta analyzes the landscape guided by chromatic relationships, leaving it to the viewer to reassign the colors to the elements.
43,5 x 85 cm
photolith film, Pantone® code table and acrylic
Photo Marcelo MoschettaBy contrasting photoliths with Pantone color charts, Moscheta makes his own translations of the lush natural landscapes depicted in the Atacama. Using strategies linked to the classification and cataloging of files, Moscheta analyzes the landscape guided by chromatic relationships, leaving it to the viewer to reassign the colors to the elements.