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Notes on grey ...
The procedure for covering the objects that are part of my grey paint installations has been a recurring procedure since 2004 when, during my exhibition of the completion of the Fine Arts course, in which I carried out the first installation of the House, I painted all the elements in Grey.
The initial project proposed an installation of paintings that simulated domestic environments and in front of them were presented objects and furniture that simulated an expansion of the painted room to the exhibition room. In the initial design both the painting and the objects were in color, and the objects retained their original textures.
Soon after the opening of the exhibition I was dissatisfied to see that the painting lost its force in relation to the objects of the installation and intuitively I decided to paint them grey at the weekend, when the gallery was closed… Thus it had appeared the grey, as a strategy of erasing things that were not painting. A plastic solution to make the painting strong in front of real things that were part of the work ... in this way I believe I was able to instigate a question about the virtual field of painting and to simulate a death of things when they escape the pictorial field.
Therefore, I do not see my work at any time as a sculptural work. It's all painting. Parts and objects painted are like scenographic pieces and outside the context of the installation are not considered works. Grey is just a tone or skin that nullifies the colors and the actual volumetry of things. And the painting takes place in an enlarged field.