Âmbar, 2025. Acrylic paint on wall. 5 x 12 metres.
It was through my research into how food is influenced not only by the geographical environment, climate and topography, but also by local traditions and ways of life, that I was invited to create the murals in the new dining hall at Sesc Casa Verde. The large murals measure 5 x 12 metres each, totalling 240 square metres of acrylic paint.
An ongoing project in which the works "Dança”, ‘Âmbar”, “Limiar” and “Terra” gave me not only the opportunity to test the limits of the sensory and synesthetic aspects that I seek to bring to my paintings, but also the possibility to put my work as an artist into practice in a direct dialogue with Sesc's concept of food, which focuses on offering healthy and contemporary Brazilian cuisine. Thus, the institution's project called ‘Mão, Terra, Fogo’ (Hand, Earth, Fire), which recognises food as a living expression of the territories, identities and relationships that make up the world, features paintings that depict foods emblematic of Brazilian culture. The title of the project refers to the essential cycle of food transformation — from harvest to preparation — evoking the forces that shape and sustain life.
It was through my research into how food is influenced not only by the geographical environment, climate and topography, but also by local traditions and ways of life, that I was invited to create the murals in the new dining hall at Sesc Casa Verde. The large murals measure 5 x 12 metres each, totalling 240 square metres of acrylic paint.
An ongoing project in which the works "Dança”, ‘Âmbar”, “Limiar” and “Terra” gave me not only the opportunity to test the limits of the sensory and synesthetic aspects that I seek to bring to my paintings, but also the possibility to put my work as an artist into practice in a direct dialogue with Sesc's concept of food, which focuses on offering healthy and contemporary Brazilian cuisine. Thus, the institution's project called ‘Mão, Terra, Fogo’ (Hand, Earth, Fire), which recognises food as a living expression of the territories, identities and relationships that make up the world, features paintings that depict foods emblematic of Brazilian culture. The title of the project refers to the essential cycle of food transformation — from harvest to preparation — evoking the forces that shape and sustain life.
This project also addresses current issues such as sustainable food. In this sense, the works produced at Sesc engage with agricultural practices that respect the natural cycle of the earth and promote the preservation of biodiversity, reinforcing the importance of short production chains and the value of traditional knowledge. By presenting ingredients that are emblematic of Brazilian culture and highlighting the relationship between territory, food and culture, the project reaffirms that sustainability is not limited to environmental care, but also involves the preservation of ways of life, identities and memories that nourish both the body and the collective imagination.
Flavour, as a cultural trait resulting from the interactions of these foods with the world – origin, cultivation, transport, storage – is something invisible, and although my work is produced in visual language, I am interested in what is not visible: flavours, aromas, textures and also an immaterial dimension that could be called ‘soul’. Thus, I propose an animistic vision that challenges the separation between nature and culture, subject and object. My goal is to use flavour to challenge painting as something based exclusively on visual observation and image.
These works function in patterns that, although not exact, repeat themselves and could continue infinitely beyond the wall, and due to the “movement” of the compositions, are like “seas” of meat, fish, bananas and garlic. They are “oceanic” images that allow the viewer to lose themselves and alter our scale of apprehension of reality.