Exhibition view of “Ecos”, solo show at Fundação Clóvis Salgado, 2019
untitled, clay, 950 x 0.04 x 0.04 in (2400 x 0.1 x 0.1 cm), 2014/2019
untitled, clay, 950 x 0.04 x 0.04 in (2400 x 0.1 x 0.1 cm), 2014/2019
untitled, glass nail, 2 x 2 x 0.2 in (5 x 5 x 0.5 cm), 2013/2017
untitled, glass nail, 2 x 2 x 0.2 in (5 x 5 x 0.5 cm), 2013/2017
Exhibition view
dm, cm, mm, paper, 3.94 x 3.94 x 0.34 in (10 x 10 x 0.1 cm), 2017
dm, cm, mm, paper, 3.94 x 3.94 x 0.34 in (10 x 10 x 0.1 cm), 2017
1g de ar [1g of air], acrylic, 3.75 x 3.75 x 3.75 in (9.5 x 9.5 x 9.5 cm), 2013/2019
untitled, canvas strings, 63 x 1.18 x 0.04 in (160 x 3 x 0.1 cm), 2015/2019
untitled, canvas strings, 63 x 1.18 x 0.04 in (160 x 3 x 0.1 cm), 2015/2019
on the left: untitled [red light]; on the right: Minuto and 66 pregos, 78 segundos
untitled, red bulb and electronic device, 1 x 1 x 1.18 in (2.5 x 2.5 x 3.0 cm), 2015/2019
on the left: Minuto; on the right: 66 pregos, 78 segundos
Minuto [Minute], photogram, 20 x 1.8 in (50 x 4.6 cm), 2013/2019
The word echo suggests a relation between an empty space and a given sound or noise, as a reaction to an element that did not belong to this space in the first place. However, does this apply to images as well, instead of solely sound vibrations? And what about almost nonexistent bodies? Could they resonate in an empty space as do sound, noise and the human voice? The word echo does not end at the idea of a sound presence, for it can mean the resonance of something which, despite its apparent meaninglessness, becomes nothing only after it ceases reverberating.”