The Lacuna e Equilibrio series puts a question relating to our relationship with the ruin, detritus and remains left in the wake of the hurricane of
modernity.
Perhaps discarded objects are no less important. It is probable that through them, excluded from the horizon of modernity as no longer having
any purpose, it is possible, with the right eyes, to open an alternative temporality, build a proposal for the future, a possible way out.
In its arbitrary disorganization, San Paolo, Brazil is a city that rebuilds itself three times every hundred years. In an expression of modern society’s
pathological relationship with time, buildings are constantly demolished to make room for others with features more suited to generating the
greatest profit, themselves destined to becoming ruins in a few decades.
The tons of debris from this dismantling process are first accumulated in caçambas, big metal containers placed in the street opposite the city’s
building sites, and then taken away on a dubious journey.
Taking as his guide Giorgio Morandi, who spent a lifetime painting humble, everyday objects and managing to elevate them to a timeless,
metaphysical dimension, the artist carefully chose the debris of the demolished city, trying to place it in a neutral space and observing whether other levels of interpretation were possible outside the dynamics that defined its destiny.