The Intersected sculpture series is based on seemingly simple procedures and forms. Circular planes of different dimensions interact through crossings and intersections. Without disregarding their individual origins linked to two-dimensionality, these pieces, when placed in relation to one another, reveal and explore the possibility of three-dimensionality. Different points of support and angles ensure situations of balance, which are reconfigured every time the pieces are rearranged. Modular systems and constructive logic permeate the artist's work, as he seeks to explore, across various mediums, the many possibilities of occupying and perceiving space. The circle is the foundational shape chosen for these works—an organic form where curvature dismisses the hierarchy of beginning, middle, and end, allowing for the potentially continuous flow of movement.
Intersected also engages with history. Modular systems and structures were a foundational principle of Brazilian constructive art, established between the 1950s and early 1960s in the concrete and neoconcrete art movements, legacies that still resonate in contemporary production. This logic, which Gustavo investigates and challenges in his work through everyday materials (such as mirrors used in security systems, Lego pieces, or even everyday photographs), here takes on marble—a key material in the history of sculpture, symbolizing eternity and nobility. Intersected also connects with the artist's own history, revealing dialogues between works created almost two decades apart. His first piece, Perceptível – Sun Clock (2002), was conceived as an object in a state of permanent change. The cube, the starting point of the work, is constantly fragmented as the sunlight, shifting throughout the day, strikes the faces of the object, which are covered with fabric and paper. Both Intersected and Perceptível – Sun Clock reveal Prado’s interest in incorporating the immaterial into his work: in these cases, light and shadow.
Intersected also engages with history. Modular systems and structures were a foundational principle of Brazilian constructive art, established between the 1950s and early 1960s in the concrete and neoconcrete art movements, legacies that still resonate in contemporary production. This logic, which Gustavo investigates and challenges in his work through everyday materials (such as mirrors used in security systems, Lego pieces, or even everyday photographs), here takes on marble—a key material in the history of sculpture, symbolizing eternity and nobility. Intersected also connects with the artist's own history, revealing dialogues between works created almost two decades apart. His first piece, Perceptível – Sun Clock (2002), was conceived as an object in a state of permanent change. The cube, the starting point of the work, is constantly fragmented as the sunlight, shifting throughout the day, strikes the faces of the object, which are covered with fabric and paper. Both Intersected and Perceptível – Sun Clock reveal Prado’s interest in incorporating the immaterial into his work: in these cases, light and shadow.
