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circle. The heaters heat the environment and reverse the position where the ancestors warmed around the fire. The fact that I was naked at work was what gave me the most impact, because I am far from being in physical shape or carrying in the body the acceptable normativity that people preach. Stretch marks, fat, bodyhair. Although I was deeply focused to a point I could barely to what the audience was talking about the performance, some people who was helping me in the performance, standing by if something happens to me, they listen and we talked a lot about it. The first notes of people seeing the performance in large majority were my bodily "faults", and then they looked at what was happening in their total. People ended up pointing their own "faults" out first of all by finding a naked person who does not have the normative body.
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
I truly believe that all works have a load of autobiographical memory, sometimes camouflaged in the layers of signs of the works and other times is more explicit. This not only in my works, but in everyone's Works. I can not use the memory or life experiences as starting point of my work since in the last years I have come to realize that the situationist practice of being on the streets ends up serving as starting point, and it is at that moment that the memories of my life experiences end up coming as a dejavu, you feel that you have seen or experienced something of the type, but this occurs to me not only to a similar situation, but to an object, a structure, an observation, a variable that I have no control, it just happens . For example, on the first day of the year, in 2015, I was arriving at my mother's house, and I noticed a mutiny of people and police at the entrance of the building where she lives, it happens that a Golden Retriever, a breed of dog very popular among the Brazilian middle class, died hanged on his own collar, because his owners left him trapped on the porch, and because of the fireworks of the turn of the year, the frightened dog jumped from the porch. I unwittingly observed this situation, the Golden, symbol, mascot, the best middle / upper class family friend, hanged because of the neglect of their owners, common neglect and in my view, already expected, was a maximum situation, immediately came to mind the works of Mauricio Catelan and Damien Hirst and already advance that I am using such a situation for a future work with a hanged Golden - laughs -
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
The only rules I follow are to respect what the work "asks" for to be carried out in order to reach its maximum potency and to be sincere with myself. It is extremely important to believe in what you are doing regardless of the investment that has to be made for the work to be completed and the repercussion that may occur.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
I have often found myself saying that every artist should be in a bad mood, angry, pissed at the things that happen in the world, from the microcosm of his/hers city to what is happening in the world. I believe this because people are more direct and sincere in expressing themselves; This can also be a double-edged sword, if you let go by the emotions can empty the intellect of your expression. Because of this I try to keep my balance between the two of them, of course this is not possible to do always, and may not be necessary depending on the work. Being immersed in the viewing experience seems to me very similar to meditation, it is being aware of what is around you regardless of where you are or where you have been. I believe that being immersed was the necessary gap for me to recognize myself as an artist
Before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?
For me its not what defines the process, but I do think it is very important to talk and listen to what others think about what you are producing, regardless of who you are, whether you are a critic, professor, collector, gallery owner, artist, curator, or any other profession related or not to art. But this is not a decision-making for my production in general, not only in its language, but also in its proposal conceptualizes: I view the reception of viewers as a different view of mine, so I do not like to explain my work before I listen to what the other person thinks about them, about their experience of seeing what I am presenting. It's the difference between me explaining to you what it's like to use a drug you've never used, and to use it yourself, I explain to you, you will have my point of view as the basis of what is such an experience, you using it will have your own experience and point of view.