If leather brings this relationship to physicality, gold leads us to an imaginary around power and ostentation; this is the same tone that has been used by so many religions in order to bring the notions of asceticism and transcendence and quickly transition from its economic value to the spiritual sphere. Unlike the leather that retains the light, the gold leaf shapes shine and reflect discreetly through space. The use of these materials creates a contrast that plays with the public's eye to an intermediate place between light and shadow, between the artificiality of luxury and the organicity of the skin, between, finally, the background and the figure.

This research on the limits of words as to the ways of writing / describing about the human body, gender and written sexuality, which was and continues to be oppressive, led to the complex universe of hieroglyphs with their outlines and mysteries. His writing expands, therefore, from screens to skin objects.

What if we were able to perpetuate a writing that ceased to be guided by the defined inflection of the genres and invited us to fantasize about the lines before our eyes? What if we were in a world where the phobias surrounding all otherness did not exist? What if the leather suppleness of our skins was not seen as fragility, but as potency?

 

Fragment of the critical text of the curator, Raphael Fonseca for the individual "Black and Gold" (2020) at Galeria Luciana Caravello, Rio de Janeiro, Brazil