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The scale of this work is composed of three moments: first a series of physical actions across the Americas, then a synthetic piece, placed in an outside space in the city of São Paulo, and, lastly, as an result of all this and now in an interior space, the series of sculptures made for the Bienal building.

My perception of the exhibition space is marked by a series of questions that are often dissimilar, even schizophrenic. What I consider to be space, today, includes poetry and drawing. In this sense, I use sculptures, objects, photographs, actions, geographical coordinates, or even physical displacements, to construct an idea of space which, often, does not involve only the immediate place where the artwork is installed, but also the larger, global space. Its nature is not purely concrete; its basis is poetic. Its reference is not based only on measurable dimensions. It is charged with perceptions, meanings, history, feelings, desires, memories. The observer needs to make an effort. The artwork requires time for you to be able to probe it and begin to see its structure.

In this new work, I went to two places in the Americas: Anchorage, in Alaska, and Ushuaia, in Argentina, “the beginning and end” of two mountain ranges that I consider as one: The Rocky Mountains and the Andes. I see them, poetically, as the backbone of the terrestrial globe. This enhanced articulation of elements creates a notion of landscape in which natural space, poetic operations and constructed space are mixed together. [NF]