Leonardo da Vinci’s Greatest Hits, 1982
acrylic and crayonon paper mounted to panel, 213.4 x 198 cm
Henrique Oliveira (b.1973, Brazil)
Creating a spectacular and invasive Gordian Knot, Henrique Oliveira plays with Palais de Tokyo’s architecture, allowing a work that combines the vegetal and the organic to emerge. The building itself becomes the womb that produces this volume of “tapumes” wood, a material used in Brazilian towns to construct the wooden palisades that surround construction sites.
In the form of paintings, sculptures or installations, the hybrid art of Henrique Oliveira evokes both the urban and the vegetable, the organic and the structural, as well as art and science, through compositions in which the unexpected generates a universe tinted with the fantastic.
Graduating from the University of São Paulo in 1997, the artist explores fluidity, the combination and color of materials, which endows his installations with a certain pictorial quality. Oliveira often borrows materials from the Brazilian urban landscape, notably tapumes, wood taken from fences surrounding and blocking access to construction sites. By using these materials, Oliveira highlights the endemic and parasitic nature of these constructions; evoking wooden tumors, his installations function as a metaphor for the favelas’ organic growth, thus revealing the dynamic decay of São Paulo’s urban fabric. In the artistic lineage of Lydia Clark or Hélio Oiticica, he uses the very context of this sprawling city as a raw material. The way in which it is treated, as well as its unexpected apparition, destabilizes the visitor’s perception of space.
Henrique Oliveira. Baitogogo @ Palais de Tokyo
13 Ave. du Président Wilson Paris 16 - 21.06-09.09.2013
In the context of “Nouvelles vagues” (New Waves) season
Photo: André Morin ; video The Making-of Henrique Oliveira’s Baitogo
Killer graphic output focused on the intersection of art and architectural representation. Incredibly beautiful work. I sense the influence of Lebbeus Woods, Wes Jones, and Neil Denari at work here, yet the work is utterly fresh and vibrant, not at all derivative.
This series contains abstracted planimetric drawings and eerily-serene cityscapes that suggest the changing contours of urban settlements. They represent an idea of a degenerate futurism, yet one might find similar typologies and scenes in places such as the favelas of Brazil and North Africa, and in overpopulated cities such as Lagos, Mexico City, and Mumbai. Though outputted digitally, the drawings possess a textured and painterly quality as a result of combining hand-drawn sketches, industrial textures, surfaces of deteriorated paper, and digital architectural models.
A constant interplay between digital and analog processes is important in my work, resulting in a highly layered set of documents. The drawings presented here started out as digital images that were outputted, sketched and drawn over, and scanned back into the computer in order to be retraced, textured, and layered.
first spotted via The Vague Redhead