Eco e Narciso
Metal, mirror, rubber, foam, and acrylic
60 x 40 x 30 cm (approx.)
24 x 16 x 12 in (approx.)
Edition of 20
São Paulo, 2019
This work was part of the show “O que emana da água” curated by Vanda Klabin at Carbono Gallery, that opened in October of 2019.
Excerpt from Carbono Gallery’s website:
“In his new series Eco and Narciso, Gustavo Prado begins a new development of the sculptural strategy in which he aggregates materials already in circulation, such as mirrors and modular structural systems. In it, with the use of different objects whose surface is reflective hour opaque, interest moves from the fragmentation of the image of the body and the landscape, to the investigation of the limits between matter and image.”
Metal, mirror, rubber, foam, and acrylic
60 x 40 x 30 cm (approx.)
24 x 16 x 12 in (approx.)
Edition of 20
São Paulo, 2019
This work was part of the show “O que emana da água” curated by Vanda Klabin at Carbono Gallery, that opened in October of 2019.
Excerpt from Carbono Gallery’s website:
“In his new series Eco and Narciso, Gustavo Prado begins a new development of the sculptural strategy in which he aggregates materials already in circulation, such as mirrors and modular structural systems. In it, with the use of different objects whose surface is reflective hour opaque, interest moves from the fragmentation of the image of the body and the landscape, to the investigation of the limits between matter and image.”
The Displaced series
brings together a collection of sculptures and installations that have been
developed since 2015. This marks a significant milestone in Gustavo Prado’s
work, initiating a new phase in his sculptural strategy by using materials
already in circulation in the world, particularly in industry. Makeup mirrors
are a recurring element, assembled in groups that are organized with the help
of modular metal structural systems. Each sculpture takes shape as a kind of
organism, with articulated mirrors pointing in different directions. Almost
like a prosthesis or an extension of our body, these installation-based
sculptures allow viewers to experience the displacement proposed by the series'
title. From every vantage point, the play of mirrors presents different
perspectives of the same place. Most of these views are out of reach due to
height or angle. It’s like being in one place while simultaneously seeing from
many other points of view, mixed together, creating a new space that holds all
these visions at once. Or as if we were in several places at the same time. If
the exhibition space has other visitors, their bodies also become part of this
game, entering into the landscape. These works combine surfaces that are at
times reflective, at times opaque, as well as various objects, such as plant
vases and rubber balls, thus proposing an investigation into the relationship
between matter and image.
