These Liturgical Virtues are based on an intersectional experience of the body and the ways in which it enters into confrontation, movement, and transformation in relation to artifacts and cultural practices.
In response to the current rise of fundamentalism and policies aimed at excluding alterity and dissidents’ forms of life, the pieces in this small collection were created according to an interpretation that challenges the pornotropic tradition, characterized by a colonialist discourse on the sensuous body, the sinful body, and the gluttonous body. Racialised and gendered, considering the object and the abject that produce the exception, the dialogue I propose lies in the materiality and forms that reconsider corporalities as the center of the experience of spirituality that is a practice of the self, in their intersection with artifacts and memories, in response to a world that seeks new, uncommon, solitary, communal, timid or transgressive topologies.
The Virtues also pertain to a new density between design and sculptural production, between mass production and the true uniqueness produced by the body in relation to the raw material. In terms of process, the investigation focused on Brazilian woods, on the one hand, and the invention of a Brazilian and Latin American sculptural tradition on the other. However, the approach taken is different in that it is based on a way of doing that factors in the demands of the materiality itself as a key element, as both discourse (wood as a metaphor for colonialism) and natural body (wood as a living element), requiring care and setting conditions and limits.