This series was also part of Auto-Retrato Espelho de Artista at the Contemporary Art Museum of São Paulo.

From the catalogue: Auto-Retrato, Espelho de Artista
Museu de Arte Contemporânea de São Paulo
by Katia Canton

One of the critical strategies of the 1990/2000 generation of artists, in the production of meaning, is the use of the self-portrait. Here the self-image is built not only as a representation of narcissism. On the contrary, if it is a way to claim identity, and its focus is on the production of an unfamiliar and uncomfortable feeling – reminiscent to looking at the mirror and not recognizing oneself.

These emotions are connected to the critical vision of the contemporary human being in a society of virtual and electronic information, pressured by the media, strangled by the fast impositions of a time-space that is presented on the daily life of cities.

In the contemporary portrait of urban life, there are lonely and fearful images, often looking for meaning in a web of feelings of boredom, impotence, insecurity, loss and displacement. The metropolis daily routine is also the background for an artificiality that permeates human relationships.

From this clash between the intimate relationship of identity that the artist tries to establish between himself and his spectator and the degree of anonymity that human relations start progressively to operate, grows a comfort that shapes a body of work.
Identity/anonymity become pieces of a game of a socio-political commentary that are materialized through transgressions of representation, strangeness towards the world, and operated through the distortion of forms, mechanical poses, and irony.