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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.”
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.