Blau Projects opens the exhibition Deslocamentos by the artist Andrey Zignnatto on March 28th with three large-scale pieces created especially for the space. On view until April 30th, the public may see the intervention Manta II, made in order to ‘cover’ the gallery’s facade, Erosions II, an installation that will occupy the whole internal space of the galley, and Manta I, occupying the space’s smaller room.
At the gallery’s entrance, the work Manta II coats the building’s facade with bricks that form an organic entrance, opening a sliver so that the public may enter the space. In Erosões II, overlaid bricks, cut by knife by the artist, take the floor of the gallery’s main room. In Manta I, small bricks float in space hung by nylon strings, showing that the naturally heavy material made to establish the basis of buildings, may subvert its logic and functionality.
The artist, originally from Jundiaí, develops pieces molded in brick, a material that he learned to manipulate when he worked as a constractor as a pre-adolescent. ‘I started learning how to manipulate the brick while its still humid, grouping and slicing the pieces until they got to these formats,’ says the artist. ‘I was really impressed when I realized that the people that worked there were able to tell time through the slits of sunlight that went through the bricks,’ says Andrey.
Andrey specialized himself in the process, understanding the functionality of the types of bricks, like the ‘baiano brick,’ exploring its design, versatility. ‘Being a self-taught artist, I allow that the choice of material, as well as the system of the production process be defined according to a specific demand for each idea.’ The artist also learned to manipulate industrial equipment, like presses, guillotines and ovens. ‘So, many ideas also came in spontaneous ways through a direct contact with the production process,’ he analyses.
His experience influenced him to develop modeled pieces in which he extracts the original functionality from the industrialized object and establishes an artistic character upon the pieces. ‘My intention is precisely to generate a new dialogue between the object and the person,’ justifies the artist.
In the text written to present the exhibition, the curator, Rejane Cintrão states: ‘This series by Zignnatto takes us to reflect upon how some forms imposed by architects, engineers and politicians may and should be reconsidered. By using the same material that constructs square and modular buildings that result in monotonous gray cities, which have nothing to do with the forms in nature, he proposes a new way to see the city and the objects created by man.’