In Forest, the reductionist imaginary about nature is portrayed, connecting modern science to the landscape representation of European naturalism, in the colonial period.
Pigments are chemically extracted from eight plants, making them transparent, and producing an isolation between the color and the leaf. From the extracted tones, the idyllic print “Floresta Virgem”, by the naturalist Johann Moritz Rugendas, was digitally dyed. Reductionism, typically scientific, and the imposition of an external sense, typically colonial, are reproduced in the two stages of the work.
The word "forest" etymologically means "outer forest", designating the medieval European interaction with the forests. This relationship of exteriority, expresses the historical trajectory of the construction of the modern Brazilian imagination on the forests: outside society, antagonistic to the original form of interaction in the pre-colonial period. Collaboration with the scientist Eduardo Padilha.
Pigments are chemically extracted from eight plants, making them transparent, and producing an isolation between the color and the leaf. From the extracted tones, the idyllic print “Floresta Virgem”, by the naturalist Johann Moritz Rugendas, was digitally dyed. Reductionism, typically scientific, and the imposition of an external sense, typically colonial, are reproduced in the two stages of the work.
The word "forest" etymologically means "outer forest", designating the medieval European interaction with the forests. This relationship of exteriority, expresses the historical trajectory of the construction of the modern Brazilian imagination on the forests: outside society, antagonistic to the original form of interaction in the pre-colonial period. Collaboration with the scientist Eduardo Padilha.
