EM SÃO PAULO
In the book "Delirious New York", Rem Koolhaas seeks to make an architectural manifesto by studying the formation and maturation of this city as the archetype of contemporary metropolitan culture and the fantastic occult force of urban growth.
I tried to apply this historical approach in a painting about São Paulo, with the difference that it was treated as a model of the industrial city of the third world. The Brazilian metropolis is seen as a mythical land, saturated with a paraphernalia of illusions, as an urban landscape where the real and the natural cease to exist. There is no longer any architectural debate, no doctrines, no theory, no planning: there is only the creation and destruction of the mosaic of urban fragments, the juxtaposition of human efforts against nature in a process of accumulation of disasters and fantasies. It is the parody of the eyewitness.
I tried to apply this historical approach in a painting about São Paulo, with the difference that it was treated as a model of the industrial city of the third world. The Brazilian metropolis is seen as a mythical land, saturated with a paraphernalia of illusions, as an urban landscape where the real and the natural cease to exist. There is no longer any architectural debate, no doctrines, no theory, no planning: there is only the creation and destruction of the mosaic of urban fragments, the juxtaposition of human efforts against nature in a process of accumulation of disasters and fantasies. It is the parody of the eyewitness.
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