ʕ ʕ ʕ ʔ
ʕ ʕ ʕ ʕ
ʔ ʔ ʕ ʕ
ᅲ來了  إن tend  Shouldn
ஜi ikt ˊ  geld ˊ gae ˊ yò  complaining ʔ
ʔ
end ʔ
ʍn ʅ paper already there
💀
Ñn pou ʄu Clearly Poor P armor
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...со скаспаться сијднё.
...с çekарно걸ظа, Rawon,
...се саспаться сијднё,
...со скаспаться сијднё.
...сю Minskvaast, shotspibaーん].
Я femininekk 사랑артconfidence.
Ч inventory,
...Exorger.
andinав Wagner,
Odessrail.
... grandchildrener.
... Christian P 8isp...
Pen-t-stick
A-sí kon-síg uma pincelada grossa, agres-te,
que diga-mes fika pendurada no papel.
Pen-t-stick é uma aspe-se de tinta ao olio,
en forma de marcador.
Kon-i-su, queri-t-stan-sí,
en rel-a-sau-en e-ste funde mais suave.
Fika-n-da ar-ver-as-sí mais para-a-fere-nt.
E-ste alar-gura su-gere-me aspe-se de tela-de-cinema o teatro.
I-as ar-us-ke se-ven-i a-kir-lad-un,
est-tom a-kir-a-fere-nt, da-i-ma-gen kon-re-bu-su-ar.
I-tame-i-su-gere-me as-kort-ins-de-teatro,
o-que-si-a-kab-ar-on-di-a-bre-ir,
i-a-kir-sta, o-palko-iluminado.
I-games-ki-ess-s-s-s-s-s-s-s-s-s-s-s kompo-nen-de-s-s-s-p-t-t-t-kel-ke-vames-ver.
I-ga-me-ké-ke.
A-n-p-le-k-in-et-vater, van-ond-ra-f...
A-n-s-s-sitio k-a-kern-a-a-gwa.
Por-de-baixo-v-en-a-gwa-do-ri-on-re-no,
che-ga-kir-es-t-le-ago-de-div-is-s-un.
I-t-t-t-se-move-o,
Where the water doesn't go well, and in the beginning of summer,
you see something under this water.
And you think, what will that be?
It's a huge amount of algae that constantly change in a way.
It always takes a while until we realize what we're seeing.
Look, now I'm going to draw it like this.
That's my goal.
The spectator doesn't know well where to look.
Because I know what was under this water.
I saw it, but what I want is to see the spectator
as if he was part of the situation,
not looking at the distance,
but as if he was really inside the action.
The work without horizon is one of my favorite perspectives.
It's a favorite for me.
It's a favorite for me.
This work in special is very difficult.
Because in the end, we are making a design
that combines depth, surface
and movement in only one work.
The most time the stage...
The most time the stage...
The most time the stage...
I dedicate to look at the design.
Sometimes there are days I don't even touch it.
But when walking from one side to the other in the studio,
I always think,
will it be better to do it?
I always think,
will it be better to do it?
Will it be better to do it this way?
Or maybe a little bit faster?
Sometimes there are drawings that run well from the beginning.
But I work in a way that I never know what the result will be.
I prefer discovering the way I draw,
but I have a plan,
but never thought until the end.
To always leave space to be able to improvise.
But with some work,
I draw very quickly.
This means a drawing of this size
about three weeks.
But at the end of these three weeks
it still needs to be finished.
I have the after.
If the work is done,
it is only finished after it has been well examined.
At that time I have a lot to see and correct,
examining minutely each centimeter.
Yes, because in each mouth of the drawing
I have to review the decisions I make.
It is also a matter of many layers over each other
that just...
It is a matter of layers,
which slightly change direction.
But here the directions are very important.
Yes, because in this work
it has to seem plausible
that this surface is inclined like this.
This is...
It does not have an horizon,
but it has to have a sense of perspective.
It is not a drone that sees things from above,
but from an inclined perspective.
And this is one of the first things
I have to achieve in the drawing.
And at the same time
I have to be able to move.
Anyway, I have to work at all levels at the same time.
In this stadium
I find it difficult to look at the work.
Let's say that there is still so much to be done.
We always want to see something,
the clouds.
In abroad there are rock formations
that give us our own names.
This is the devil,
this is the red capuchin,
or the wolf, for example.
I think it's very funny.
And maybe that's it.
It is our necessity
to try to know what it is
when something is not clear.
You have to work like
if at any moment
you have the courage to lose the whole drawing.
The drawing also,
as there is light,
has to be accepted as if it were a surface of water.
But at the same time
you still have all the movements of that water.
There are 13 elements.
But the last time I was there
it was almost impossible
to see what was going on in this water.
And this is much more interesting
that we have to guess what it will be.
This is what I like the most.
Show what is supposedly there.
That as a spectator
you put on where you are looking.
It is as if you were
attracted by the work
but at the same time
leaving the spectator
uncertain.
But in the end, where am I?
And I hope that, for example,
with this drawing
a person feels
that he is a spectator.
Thank you for watching.
