henrique oliveira technique
Profile von Personen mit dem Namen Henrique Oliveira anzeigen. It depends on each case. My mother pushed me to finish University, and I stayed studying social communication. Yes this Nouvelle Vague show was also in other places in Paris. This is not just a referral to the aesthetics of his work, but the way the work is created, processed and executed. I have always been an observer of nature. Henrique Oliveira’s artwork is unparalleled. That is how I obtain the discarded materials. Henrique Oliveira: In the last decades our lives have become so mediated by images. In Brasil they produce these wood boards in a very cheap way. The sculptures I do are similar to installations, but on a smaller scale, and are produced in a different way. Triomphante, elle détruit l’urbain. His paintings, too, dictate their own unique terms of viewing. Henrique Oliveira is a Brazilian artist known for his incredible art wood installations made in a big scale. Is this when you were invited to Paris by the SAM Art Projects? Henrique Oliveira, Desnatureza, 2011 Henrique Oliveira est un artiste plasticien née au Brésil dans la ville d’Ourinhos en 1973. Using a variety of recycled materials, paint, and plywood, he creates artworks that draw the observer into a … They use them, but they get rotten very quickly. What moves me, when I am creating works, is that I never think about how people will view them. Please tell us more about this city. Fala Pessoal, Aqui é o Henrique Oliveira! We consciously and subconsciously know that other people will see it. Oliveira’s works do not sit, nicely displayed, in a room nor do they invite quiet contemplation. As part of the “Something from Nothing” theme, he and his group constructed a “cloud”–installed at the New Orleans Contemporary Arts Center–entirely from donated and recycled mattresses, stuffed animals and pillows. Henrique Oliveira est un artiste brésilien, né en 1973 à Ourinhos au Brésil. Maybe this is an important element to our daily lives and whatever work we are doing. With constructions constantly taking place in his hometown of São Paolo, the most common wood used for building houses is often discarded, and left for reuse by others. They can nd other meanings or connections. It is nice though, that each viewer can interpret it in different ways. It is a return from its urban context to generic or organic shapes. Tout en rondeur, en formes, en textures et en mouvements, ses créations immenses semblent sortir de … It’s a tendency that started with the invention of photography. Primarily describing himself as a painter, Oliveira started with oil on canvas and is now additionally working with his own uniquely created style of painting, with wood. Do you think this is important for art to have some sort of affect on the viewer? Source: Boulder Museum of Contemporary Art, Artist Henrique Oliveira Uses Tapumes To Create Masterpieces. The site-specific installations are usually temporary works. I wanted to create a situation that you don’t know exactly what’s nature and what’s arti cial. So you’re installation at the Palais de Tokyo, was part of the Nouvelle Vague show. How did you begin to use the tapume, and recycle this wood in your work. This year I have been outside of Brasil, because of this residency of 6 months. Henrique Oliveira’s work crosses the genres of architecture and art, challenging perceptions and labels of sculpture and painting. Art in general, not just vis- ual art, music and literature for instance, they all have a purpose of complimenting the way human beings behave and need something else. In this way, the work is accessible to everyone. He received a BFA in painting in 2004 and a Masters in Visual Poetics in 2007 from the University of São Paulo, Brazil. Art is part of this existence, a way of looking at the soul of the human. Initially a painter, Oliveira was inspired by an old wooden fence he saw through his window across the street from his studio in Sao Paulo. Perhaps going back to its natural form also. Henrique Oliveira, Canapé, 2015, Technique mixte / Mixed media, 180 x 115 x 130 cm / 70 7/8 x 45 1/4 x 51 1/8 in. The place that I stayed in, was amazing. He’s only about to get busier, so we took the chance to sit down and find out more about this elusive artist. In July I went back to Sao Paolo to stay for 2 months, then needed to go to Frankfurt for another month, then back to Sao Paolo for another month. Art is something that compliments the nature of the humankind. Connecting the visual similarity of the wood when broken to a brushstroke, Oliveira started to explore the properties of wood, and in particular, the wood of discarded tapumes. We create something responding to our own demands and our own wishes and curiosities. My first works were first only using the colours that were found in the wood. Alors que le sculpteur enlève généralement de la matière, Eva Jospin, au contraire, en rajoute. In the case of Palais de Tokyo, I also used some tree branches to combine with the rest of the con- struction. For a recent installation in São Paulo, Henrique Olivera built a massive structural work inspired by a plant’s root system. Henrique OLIVEIRA, Researcher | Cited by 547 | of Institute of Telecommunications, Lisbon (IT) | Read 34 publications | Contact Henrique OLIVEIRA henrique oliveira is a brazilian artist best known for using tapumes, or 'fencing' in portugese, as a title for many of his large-scale installations. It’s elements are a reminder of society’s reliance on nature, and the artist’s dramatically modest approach is a comforting reminder of this. Oliveira has been busy recently, with travels worldwide seeing his work created in new environments in various cities, allowing new audiences to experience their power in the flesh. There is no information behind the works, in the sense that you don’t need to know something to understand the work. The language of Oliveira’s work is inviting, easy owing, and connecting. Bay Area transplant Kiri Picone is a writer and marketer who loves bizarre news and the color purple. They can be installed, or uninstalled many times. While this intricate installation is one of Henrique Oliveira’s larger installations, it is very indicative of the style he’s known for: obliterating the line between man and nature and transforming ordinary spaces into organic architectural feats. The perfect residency! When we first saw Baitogogo, it reminded us of architecture’s reliance on nature, with the two materials of manmade pillars and natural wood juxtaposed. In Baitogogo, I deliberately recreated the wood going back into nature. Henrique Oliveira, à travers ces tensions, ces forces vitales, donne sans doute à voir l’illusion que la nature reprend ses droits. The work can speak to people that also don’t know about art or contemporary art. Everything we see, our communication, all the forces that operate in our society act through a system of pixel combination. I did another two months backpacking around Europe when I was 19. For my installation there, I had a chance to start work earlier, and I aways prefer that. The artists stays for 6 months, and they work the whole time dedicated to the end project that is a solo show in an Institution in Paris. It is something that doesn’t have a pur- pose in the sense of a utility, or something useful. In 2013 at the Parisian gallery Palais de Tokyo, Henrique Oliveira used his signature tapumes and PVC piping to merge ordinary white posts into an intersecting, ethereal Gordian Knot. Some stirs were broken, had jagged edges and they resemble the kind of dynamics that make me think about brushstrokes. In any context, the viewer can enjoy the works and then experience it’s message through experience. You mentioned you started working with oil and canvas. Brazilian artist Henrique Oliveira creates immersive sculptures and installations the likes of which we've never seen. Le béton cède et craquelle sous l’évidence implacable de sa force. Did visit the Centre of Arts and Nature before this? McClain Gallery. By means and form of the concept of the work, it goes back to this idea of nature. I think this is an essential question. Lunches are organised every month with gallerists, collectors, curators, other artists and journalists. Is it im- portant for you to use recycled materials and is this a conscious philosophy in your work? Interview Monique Kawecki | London Editor-In-Chief, Published in print issue Champ Magazine 8, Henrique Oliveira | Photograph by Norbert Muguletz, Chest of drawers, 2013 | Henrique Oliveira, Baitogogo, plywood and tree branches, 2013 | Photograph by Andre Monin, Baitogogo, plywood and tree branches, 2013 | Palais de Tokyo | Photograph by Andre Morin, Flash3, acrylic on canvas, 2011 | Henrique Oliveira, Parada dos Quasolitos, 2013 | Henrique Oliveira, Xilonoma Chamusquius, 2012 | Henrique Oliveira, Ursulinus Prolapse, 2013 | Henrique Oliveira. Apr 15, 2013 - Explore karakt's board "Henrique Oliviera", followed by 123 people on Pinterest. Did you see the installation at Palais de Tokyo? T.+33(0)1 46 34 61 07. The castle there is very beautiful, and they have surrounding houses about 400m from the Chateau which are beauti- ful. Baitogogo was custom made for that space. I’ve shown the paint- ings many times, but I don’t exhibit them as much as the installations as they are always made especially for an exhibition-basis. Eve- ryone can enter and enjoy, and have a reaction somehow. Slowly the side of nature came out and I got more into these organic constructions. What attracted me to this material (tapumes) was that it performs like brushstrokes I am a painter, and when I was rst creating at installations that were more like a collage in texture, I was working with wood layers in a process that was very much created out of a painting procedure. I don’t find tapume anywhere in the world, so I need to import it. When you physically experience it, the connection between viewer and the artwork becomes full circle. The tapume is very hard to nd outside of Brasil, used plywood you can easily nd. It’s a great project, and the work to help this artist to be known in France. It is nice to recommend artists and their works to others, but you really need to see most works in the flesh. Coming and going. The perception of our surroundings, ourselves and society. They they change the boards for new ones. Yes. Join Facebook to connect with Henrique de Oliveira and others you may know. Each one of them can’t go unnoticed as they are an incredible artwork to appreciate. Cette adresse email est protégée contre les robots des spammeurs, vous devez activer Javascript pour la … I have done projects in the United States where I used found mattresses, rubber, metal scrap and other found objects. For me it also had a symbolic meaning, particularly in the structure that I recreated where I reproduced the pillars and the white beams that were corrupted by the strange nature, the idea of controlling life and the rationality and irrationality. The relation with nature also. It is multi-lingual. I did a worldwide trip for 1 year and then I went back to Sao Paolo. It’s a lovely place. HENRIQUE OLIVEIRA | Yes quite abit. An image of nature, as it is not nature infact, it is only using natural materials. It involves a lot of these aspects. They command. Sa pratique plastique s’orienta tout d’abord vers la peinture et la sculpture puis déboucha sur l’installation. Originally from a small town called Ourinhos, you currently live in Sao Paolo. I had a similar situation when I was in the States last year, in Cleve- land. It is a private residency. Neste Canal vamos sempre fazer um bate papo falando sobre Empreendedorismo, Marketing Digital, Desenvolvimento Pessoal e muito mais. Il a étudié à l'université de São Paulo, dont il est sorti diplômé en 1997.Il développe depuis 2003 des sculptures de grandes tailles sur le thème du bois et du végétal. I would take them from construction sites where this plywood had been used as a fencing material. F.+33(0)1 43 25 18 80. www.galerie-vallois.com. I’m always adventurous so I agreed, but I did hate it in the beginning! We are cultural beings. Primarily describing himself as a painter, Oliveira started with oil on canvas and is now additionally working with his own uniquely created style of painting, with wood. Born in 1973, Oliveira received his BFA and Masters in Visual Poetics from the University of São Paulo. Henrique Oliveira. Though different from his usual installations, one can easily see remnants of his personal style within the work. They do a good job. It took me 5 or 7 years to get used to Sao Paolo. Il étudia à l’université de Sao Polo et obtenu son diplôme en 1997. View the profiles of people named Henrique de Oliveira. At the beginning my work was more geometric where I found I was recreating places that I had been. They created this residency to host artists from outside the axis of Europe-USA. When I was 16 I moved to Sao Paolo because my mother wanted me to study in a good University. Sa technique est aussi proche de celle du jardinier qui bouture et créé des figures du végétal, You main installation at Palais de Tokyo, Baitogogo, was quite the standout piece in the group show. It was a 6 month residency, to create a project and by that time the residency that was hosting me said they would prefer that I do my exhibition at the Centre des Arts et Nature the following year. I attend to what I am curious to. Is it something we do for ourselves, but knowing that someone else will see it. Né en 1973 à Ourinhos, SP (Brésil) Vit et travaille à São Paulo (Brésil) Œuvres; Biographie; Expositions; Conversations; Éditions; Actualités ; EXLP 18 2018 Huile sur papier mâché et grillage sur contreplaqué 100 x 75 x 24 cm. After 6 months, the rain and the sun damage it and it starts to fall apart. CHAMP | You have been traveling a lot this year we have seen, especially for your work in Paris at the Palais de Tokyo and Centre d’Arts et de Nature in the Chaumont-sur-Loire. Conversation avec Henrique Oliveira, Galerie Georges-Philippe & NathalieVallois, 36, rue de Seine, 75006 Paris – FR. They invade. It had been painted, so it had different aged colours. 2014 World Cup Controversy: Fails, Scandals and Mishaps, Barry Underwood's Magically Surreal Photography, What Stephen Hawking Thinks Threatens Humankind The Most, 27 Raw Images Of When Punk Ruled New York, Join The All That's Interesting Weekly Dispatch. They were creating a new building for the Museum of Contemporary Art, and I was able to start working before the building was nished. In Portuguese, the word means “boarding” or “enclosure,” and often refers to the scrap wood used to create temporary scaffolding and fences at construction sites. There is about 30,000 people living there, it feels like a little town. I work with what the curator proposes – a room, or a gallery, or maybe a building outdoors. Henrique Oliveira invente des formes oniriques traversées par la vie, à la façon dont le démiurge fait naître du réel ex nihilo un univers aux contours fantasmés. I am more comfortable to work in this situation. I was saying that my work has a really strong relation to nature, and this could be from my hometown where I grew up, where I was kayaking and camping. Yes, but I don’t always use the tapume. We look forward to visiting your installation at the Centre d’Arts et de Nature. Yes, I was at their vernissage this season in April. I paint in my studio in parallel with the other sculpture works and the installations. Henrique Oliveira is fascinated by the interaction of man-made constructions and organic shapes. During the course I studied I took some painting courses with a friend of my mothers, because I had always been into drawing. The surface of the material has the specific textures and memory of its previous use. Though the Brazilian artist lives and works in São Paulo, his work has crossed oceans, being displayed and installed in museums and galleries worldwide. It is about 2 hours away from Paris. It’s an unusual description but one that makes sense when visually seen, as the artist transforms … Pièce unique / Unique piece, Courtesy Galerie GP & N Vallois, Paris; Henrique Oliveira, Sans titre, 2015, Technique mixte sur papier / Mixed media on paper, 106 x 75 cm / 41 3/4 x 29 1/2 in. Do you continue to do so? His large installations often occupy the vast expanse of spacious galleries. Our past experiences are the stepping stones to where we are now. The work also deals with this idea of controlling life and the impossibility of controlling life. The wood worked like brushstrokes. I had painting classes when I was 21, 22 years old. With your work mostly site-specific, what is your process of approaching each project? Whilst there, I had classes with another impor- tant teacher, a painter – whom I had classes with for 6 months. See more ideas about installation art, sculpture installation, sculpture art. Ofcourse things are changing, and more and more they are substituting this tapume for more durable materials. Prenant la forme de peintures, sculptures ou installations, l’art hybride d’Henrique Oliveira convoque à la fois l’urbanisme et le végétal, l’organique et le structurel, mais aussi l’art et la science à travers des compositions où l’inattendu génère un univers teinté de fantastique. In the end of that year, in 1998, I went to study at the Sao Paolo University. There is a whole concept that changes with each project , even if I keep the same material and same technique, the idea is always changing, just like life. In Europe I have noticed that they don’t use materials which you can discard. It is easy to see the connection, his adaptation and reuse of materials is completely original, with the pieces organically growing. It has an interesting history. Oliveira is so fond of the inexpensive, eco-friendly medium that he has even named various installations after it. It is like a museum. In Brasil they use this material because it is very cheap. Il est notamment connu pour ses œuvres Baitogogo, Bololô ou Transarquitetônica [1]. Henrique Oliveira - Site do Artista Henrique Oliveira - www.HenriqueOliveira.com WORKS BIOGRAPHY TEXTS EXHIBITIONS NEWS CONTACT (home) Would you make art if you are sure nobody would see it? I use other materials too. Your work unintentionally has an emo- tive repercussion on the viewer after experiencing the work. It’s an unusual description but one that makes sense when visually seen, as the artist transforms the wood he uses into a three dimensional painting. I had a studio there, but later went back to Sao Paolo to start my career. The paintings I do are more intimate in my studio. Untitled 2017 Écorce d’arbre, bois mélaminé, colle, carton 45 x 37 x 33 cm. They had 53 exhibitions, and they called all these exhibitions Nouvelle Vague. They use plastic, metal and other materials which are reliable. https://allthatsinteresting.com/henrique-oliveira-installations Fashioned predominantly from found timbers, Henrique's complex structures imitate organic forms and biological oddities that are simultaneously alluring and repellant. Tell us more about the material you use, tapume. Yes I never stop to do so. I am curious to see the result of that action and what is going to happen when I create something. They burst through walls, bulge and creep into space, drip, project, grow, and otherwise overtake and overwhelm wherever they happen to be. Henrique Oliveira was born in Ourinhos, Brazil in 1973. I also studied abroad, studying English for 6 months in Cam- bridge. I have a sketch-book and I make sketch projects and ideas for imaginary places or generic places. When I was 23 I went back to my home-town and decided I was going to be a painter. I recreate somehow the wood going back to it’s natural source. On a quick trip to London, we met the Brasilian artist at Duke’s in Mayfair, to converse in detail about his latest outside installation at the Centre d’Arts et de Nature in France, and his celebrated installation Baitogogo at the Palais de Tokyo in Paris. It is very good when this can happen. I came in January, and stayed in Paris until July. I ended up going to the Middle East, Egypt then Canada. Henrique Oliveira, Canapé, 2015 Technique mixte — 180 × 115 × 130 cm Courtesy Galerie GP & N Vallois, Paris Objets de rebut, éléments naturels, dénuement des matériaux… ses créations entretiennent une relation étroite avec l’Arte Povera.
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