Across categories, a timeline, and theme-tables, this site introduces four decades of my art and its interrelations. The process of this has led me to create a "virtual book.” Here, similar to playing a musical instrument, viewers have full flexibility in their exploration, freely moving through different periods, media, and content. The site is best viewed in a widescreen format.

My work can be divided into nine main categories: painting, architecture, set design, photography, video art, installation art, communication design, communication art and public/land art. Works are not limited to these subdivisions, but can be read across media and themes. For example, Swimming in Green belongs to video art as well as to installation art, carrying an ecological sense that can be read through either medium. For more information on the interdependencies and interrelations between projects, please reference the Theme-Table section in the Timeline, where one can see the thematic progression of my work across media.

Painting has always been my true north. I paint periodically and usually in series. Here, I provide a selection of works realized between 1980 and 2020, in locations including Rio de Janeiro, Berlin, New York, and Feutersoey, Switzerland. Each period reflects my progression not only in my artistic practice, but also in my philosophical views and life story. View More

Having studied architecture at the Universidade Federal do Rio de Janeiro, it forms a critical aspect of my interdisciplinary approach to the arts. Although I did not expect to return to the field, a chance encounter with Steven Holl at a John Cage’s concert in the mid 1990s reignited my passion. Soon after, I embarked on a collaboration with Holl that lasted for more than a decade and culminated in the opening of the Cité de l’Océan et du Surf in 2011 in Biarritz, France. Included works show our collaborations alongside independent projects. View More

My work in set design has spanned art forms and locations, from television sets in Rio de Janeiro to stage sets in Berlin. Only recently did I recognize that the plays for which I designed sets make up, as a group, an important part in my Undercurrent Art and personal story: in 2014, a stream of artwork came to light, running parallel to my more explicit, visible body of work. The group of plays became EO III, one of the five examples of an "Enigma Operandi" (a set of events that challenges probability), composing parts of the Undercurrent Artwork and later presented in a scientific paper on art and science, “Enigma Operandi and the Hintu Force” (Unpublished, 2020-present). View More

My first series of photographs was taken in Rio de Janeiro in 1987 and was deeply personal. My photographic work is reactive—an expression of a moment, the result of an action rather than a plan. The series are intertwined with the elements with which I am occupied, at times at an unconscious level. Technically unconventional, the works range from black and white photography to digital to Xerox prints and even video stills, where an artwork can be composed of several images and a series expressed on a single shot. View More

I began making video art in the late 1990s. My work ranges from high-speed imagery to single directional videos, from subjective accumulation of information to unaltered portraits of Nature. For instance, a series of sunrises and sunsets in the Amazon region reveal the invisible and the intangible through sound and light. Here, video stills are presented in a storyboard format to give a sense of the works as a whole. View More

Installation works, created for the gallery space, are presented in project format through proposals, renderings and model shots. Examples include ED-ES, a philosophical/planetary work, and Untitled (Who is Afraid?), a model and a reference to Barnett Newman’s painting Who's Afraid of Red, Yellow and Blue IV. View More

Communication design is comprised of works that promote communication through the creation of a platform, triggering a certain type of awareness through a design experience or by proposing a design language. Highlighting the Line and Internal Sunrise demonstrate the possibilities for lighting and design to communicate through intensity, coloration, and text. View More

Ultimately, my work is about forms of communication and levels of interrelation between realms of reality. CYBERCLONE 2000, a pre-Facebook global internet-based social network, exemplifies a permeability between the virtual and the real, but also a corroboration of their synchronicities; the work was unknowingly created simultaneously to the cloning of the two sheep in England in 1996. No Reply Zone (NRZ) exposes an underside of communication through several media, evoking ideas of forgiveness, hierarchy, and freedom. View More

This category introduces a parallelistic view for public and land. Public art—including projects like TRANSITIO—has a physical-virtual, global integrative quality. In liminal land art, there is an artistic apprehension of a ‘meaningful Nature,’ linked directly to the globe. Works like ULURU and Dents Du Midi bring to light a visceral planetary, human integration in an aboriginal sense, while Cosmic Basketball and ELEMENTAR No.1 explore the unexpected reverberations between the celestial and terrestrial. View More