f r e e t h e t i j o l o s
The brick, "tijolo" in portuguese, represents human as an unit in society, like bricks are used as units to create walls. The deformity is a characteristic which turns every Tijolo into a unique piece, unlike any other one. The brick is no longer suitable for wall builting therefore immigrating from a design perspective to an art form.
Therefore a new organization is needed among the bricks, where the verticality shifted to a horizontality.
The relationship among bricks becomes horinzontal
With bricks becoming unsuitable for the vertical construction of walls raises the question of how to create a new model of co-relation among this new nehavior as the current model of a vertical hirearchy. The rope as metaphor for the imposed social standards which manipulates people who strugle to survive.
A world without walls is an open world without barrers, where vertical relationships become horizontal ones.
exchange happens horizontally. more connceted atherefore making the bricks unsuitable for vertical construction questioning the current model of a vertical hirearchy. The rope as metaphor for the imposed social standards which manipulates people who strugle to survive.
bringing up the reflection on a new type of horizontal hireachy.
which resembles hirearchy
but are carries but are rejected by society which insists in the "sameness" culture.
The rope is a metaphor for the imposed social standards which manipulates people.
people end up strugling in the search of acceptance and afection.
My connection with clay started when I was quite young I far as I can remember. It is such a versatile material, I used to play with it, making pots, painting my body and helping to built bambu houses with clay walls. It fascinated me the fact that this material was produced by nature and came form the ground with that many possibilities of use. Probably one of my first insights about nature and abundance.
Once passing by a break factory I realized the impression of that place in my memory. I have been passing by that factory my inteire life and I have kept an image of the "orange factory" registered in my childohood memory. After thirty years I found myself researching for breaks and its possibilities of use, what better place to start that research if not "Orange factory"? I fetl a strange connection to that place which I have never been to, so I decided to walk in.
The first breaks I met were the deformed ones, at that moment I immediatly connect with them, they talked to me in and we stablished a conncetion.
I was told that they were no good because of their deformity, and this lighted up a joy inside of me that made them even more special, more beautiful and unique. As if Iwas looking to a mirror and living a metaphoric moment of how I felt all my life, beeing out of the box and being blamed fot it, fot not fitting in.
At that momente the Tijolos became my cause. I understand and respect people which defend the aninals, children,forests, ... I defend the Tijolos, for me they are the ultimate figuration of all the causes together. The Tijolos are louder because they come from the unexpected and yet so close to us, they are part of our lives from the very first moment we are born to the place we will be barried, its all mad of Tijolos, and yet we insit in hidding them over layers of concrete and paint. They are the souls, the bones and the main structure of our houses and we give them no value wahtsoever.
This poject is about freeing ourselves from ignorance, tp remove the layers that hide our essence as humans, its a call to look deeper inside and understant what is the essencial structure which keep us alive and make us uniques so we can start to move on in life with this conscinece.
A call to look and see for youself you very own potencial of being unique.
Excess valuing of sameness
Instead of feeding from this society which values the "sameness"
Instead of trying to look alike I would like to inivite people to reflect on how difference can be complementary and beautiful. By the use of deformed Tijolos I make this statement
is only a noum that we learn to use to define something as different but it actually has beauty in it if you open youself to see.
instead of borrowed points of view which only make us miserable I would like to inivite people to reflect about how beautiful and rich difference can be. Deformity is only a noum that we learn to use to define something as different but it actually has beauty in it if you open youself to see.
Struggled Tijolos which are in search for something
some times you struggle so much that you break a part.
Teh way we treat kids and rejecting the gifts that the future can bring.
Shaped to surve a purpose
Once passing by a break factory I realized the importance of that place in my childhood. I have been passing by that factory my inteire life and I have named it the "orange factory" because of it terracota color which took over that specif area of the road between Rio de Janeiro and the country side. As a 30 year old I decided to visit the factory as I was trying to understand more about the break world for a partiular porject.
I began working with clay when I was wuite young and this material fascinated me becuase of its versatilty. At the same time it was in the bottom of the lake, I used to paint myself and play in the rain, I could slide on it, it looked like chocolate when the sun dried it, I made post out of it and it could be used to built house was with the help of bambu.
It is a material which has been an important part of our lives, for most of our times we have been surrounded by it in so many different ways and the msot common is by use of breaksTijolos are a metaphor for a Human ugly Free the tijolos is an open call for the freedom of any kind of expression, by expres
of all the imposed paradigms that we are living in nowdays. a call in favor of the mistakes, the difference the deformity which have been rejected.
and the so called anti sthetic movement.
Tijolos are made of clay and so are we, humans, as some may say. I do believe so, because if were the sons and daughters of someone this one is the mother of us all, Earth, and so are we made of the same clay.
The TIJOLOS are like humans, they are shaped to serve a purpose, to be used as structures on the building process, they are the bones of a house. They are generally covered with ciment and painted over.
This work is about directing the eyes to a relevant topic which is to refuse beeing refused and neglected by society nowadays but yet the only hope to experience a new
ugly and rejected
This work talk about rejection, this tijolos have been reject because they have been considered a mistake for the construction world. How wrong this society is doing to all humans trying to teach and making them believe that they are imperfect and worng and are no good unless they look and behave in a örganized" way.
When you look at a Tijolo it is possible to identify yourself in it, each one of them is unique and yet beautiful because of it. They may not serve to built a wall, but why built vertical walls where hierarchy is present? Walls to hide inside ? There is a call for the ones who want to be seeing in the same level as equals but yet still matain their differences. The different is beautiful and rich. Viva the unique, viva the mistake
the struggles of being in a human body and teh desire to connect with the unknown, the invisible, serching for answers.
Bricks are the units we use to create walls
each brick is a unity - small, inert object that we use to create larger objects
The Tijolos is a representation of humans and its part played in society as a small unit used to create a larger one like bricks are used to create walls and the ropes are a metaphor for imposed social standards, as a consequence the bricks and people end up strugling inthe search of acceptance and afection.
My art education began with painting, but I eventually veered toward sculpture, especially when I began studying industrial design and working with materials such as acrylic, wood, latex, plaster, ceramics, and others. During my pregnancy, I began to incorporate ropes into my work, a metaphor for the umbilical cord, and beads, which represent cells. To connect these different materials, I developed my own handmade sewing technique, thereby connecting my work with my indigenous and African ancestry. For the past few years, I have been using sculpture to establish a relationship between body and nature, the micro- and macrocosm—weaving memories of backgrounds and experiences, and promoting encounters with the past, present, and future. In this way, my work also relates to a suspended time, an eternal moment of contemplation of life’s cycles and infinity, always suggesting the integration between man and nature.