Geometry of Matter

Geometry of Matter is an essay begun in 2009 in which one travels through two emblematic cities with peculiarities in common: São Paulo and New York. Composed of a broad architectural miscegenation, these anachronistic landscapes form an intersection marked by physical and temporal distance. Both are landscapes composed of an ideological multiplicity that contemplates historical conflicts, socioeconomic expansion, political dispute and real estate speculation, which keeps them transient, ephemeral and in constant flux. Its solid structures are constituted by a fleeting stiffness. The contraposition between these monumental edifications, armored and imposing, and the concept of collectivity and sharing of social relations is inevitable.

The metaphor of representation allows us to expand the field of the historical document, articulating the study of visual poetics, which has repercussions of infinite possibilities for appreciation of the object, often more oniric than representative. In disarticulation of the straight lines, unusual and sometimes even uncomfortable perspectives are created, in which significations flow invariably, subverting the look to these poetic fragments.

Like a suffocating symphony, these monuments so disparate make a noisy movement, opposing construction and ruin; cuts of verticalized metropolises in the absence of their characteristic visual pollution, without publicity, without people; visual stimuli composed predominantly of matter. The infinity of lines and forms that present themselves, reveal an abundance of possibilities in which light and shadow dictate meanings and senses.

Walking, looking and perceiving the city, bring the possibility of escaping from the compulsory inertia of the daily routine. In the process of creating these landscapes, sometimes rigid, oppressive and dull, sometimes subtle and harmonizing minimalist forms with the remaining natural remnants, is the exercise of the look that commonly fades into everyday life. Here, however, they embody the same plot and their structures coexist paradoxically. They complement each other aesthetically and counterpose symbolically.