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.