Observatory
Mirrors and metal
942 x 500 x 521 cm (aprox.)
371 x 197 x 205 in (aprox.)
Fazenda Três Saltos, Rio de Janeiro, 2022
Observatory (2023) is installed at the summit of a mountain, the highest point among all the surrounding peaks. The metal structure, standing over 13 meters tall and featuring 79 large-format mirrors, engages in a dialogue with numerous grand and enigmatic structures created throughout history by various cultures to observe and track the movements of the sun, moon, and stars, to measure time, and to connect not only with the world we live in but also with the world above it. More than just a large-scale sculpture, Observatory also embodies the situation created by its presence. In this strategic location for observing the surroundings, the work can be seen as a guardian, an almost totemic figure in an area that was once a colonial farm and is now a center for ecology and creativity, located two hours from Rio de Janeiro.
The title of the work hints at a dual situation it proposes. On one hand, it establishes a privileged vantage point on open ground, allowing for medium- and long-distance observation. It serves as a vantage point not only for viewing the landscape but also for monitoring the surrounding activity. On the other hand, it reaffirms the artist's interest in the possibilities of image construction. Rather than revealing a single landscape, Observatory places the viewer in a position where multiple possible landscapes unfold, influenced not only by the number of mirrors and their various angles but also by the observer's position (which allows them to move around the piece) and the changes in light throughout the day and weather conditions over time.
Mirrors and metal
942 x 500 x 521 cm (aprox.)
371 x 197 x 205 in (aprox.)
Fazenda Três Saltos, Rio de Janeiro, 2022
Observatory (2023) is installed at the summit of a mountain, the highest point among all the surrounding peaks. The metal structure, standing over 13 meters tall and featuring 79 large-format mirrors, engages in a dialogue with numerous grand and enigmatic structures created throughout history by various cultures to observe and track the movements of the sun, moon, and stars, to measure time, and to connect not only with the world we live in but also with the world above it. More than just a large-scale sculpture, Observatory also embodies the situation created by its presence. In this strategic location for observing the surroundings, the work can be seen as a guardian, an almost totemic figure in an area that was once a colonial farm and is now a center for ecology and creativity, located two hours from Rio de Janeiro.
The title of the work hints at a dual situation it proposes. On one hand, it establishes a privileged vantage point on open ground, allowing for medium- and long-distance observation. It serves as a vantage point not only for viewing the landscape but also for monitoring the surrounding activity. On the other hand, it reaffirms the artist's interest in the possibilities of image construction. Rather than revealing a single landscape, Observatory places the viewer in a position where multiple possible landscapes unfold, influenced not only by the number of mirrors and their various angles but also by the observer's position (which allows them to move around the piece) and the changes in light throughout the day and weather conditions over time.
Measure of Dispersion (2014-ongoing) is a series of sculptural installations that aim to amplify and manipulate the spectator’s field of vision. Made from concave and convex mirrors of many sizes that Prado attaches to industrial metal structures, the sculptures create something akin to an anti-camera that reconfigures the viewer’s vantage point and amplifies notions of (dis)location.
Rather than capturing a specific moment like a camera, the mirrors reflect a fragmented body seen from uncontrollable angles and different points in space simultaneously. The resulting viewer experience is a challenge to the impulse to project preconceived assumptions onto what we see: we are made to test our sense of familiarity with our surroundings and, more importantly, with ourselves.
Rather than capturing a specific moment like a camera, the mirrors reflect a fragmented body seen from uncontrollable angles and different points in space simultaneously. The resulting viewer experience is a challenge to the impulse to project preconceived assumptions onto what we see: we are made to test our sense of familiarity with our surroundings and, more importantly, with ourselves.
