MARY SHERMAN
 SUNGHOON YANG
 THEODORE J. CANTRELL
 HEEJUNG KIM
  CAROLINE ANDERSON
  KIM SILLEN GLEDHILL
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Brief Statement

As an artist I understand that the artist's look can transform everything to her/his own interest when she/he is involved in the creation of a work of art, and that could be a simple phrase, a word, a newspaper article, a color, or a fragment of a philosophical thinking. That creation process of a work of art includes a complex plot of proposals and searchs, problems, tests, solutions, thinkings and emotions, a continuous flow between the conscious and the unconscious.

The raw material, or just matter, is what the artist choose, manipulate and transform in order to realize her/his work. There are here some possibilities of action and many others impossibilities, but at the same time they can give conditions to continue or not a work, or even to extend in new directions. And from this continuous metamorphosis new shapes arise.

I am interested in working with the basic format of the square because its simplicity that lends itself to an endless wealth of ideas, multiple squares forming a grid that can be extended in all directions, to infinity. This provides the opportunity of working within a well defined structure, experimenting within that framework, achieving a certain freedom at the same time.

In addition, by increasingly exploiting unconventional materials, and the expressive possibilities that such materials possesses, the result of the work is something idiosyncratic. The use of copper, for example, a metal with a reddish chestnut color, one of the better electricity and heat conductor, is a very malleable material, flexible, that permits to fold, press and compress. Also its color, it changes with humidity, or by a simple touch with hands, with sweat or not, and the combination of these attractive colors are unending. Or the use of paraffin or wax, a solid substance, with a white color, if heated become malleable, permitting to "wrap" any kind of object, its color is gone. It is transparent, the light can pass through it, but not a real one, not like the glass. Sometimes the process is achieved by uniting dissimilar things like copper and latex rubber - the brightness and sensuousness of the metal contradicting the opacity and soften and fragile texture of the rubber. Or working with paper a rough or soft one with the cloudiness of the paraffin.

Hanging from the ceiling or simply on the walls, or even put on the floor, sometimes occupying space like sculptural forms, the works have an ephemeral order, falling down the idea of immutability, regularity of the defined structure of the square. Following this process, I achieve a kind of tension, imposing order and disorder, or mobility, or fluidity, to create illusions that subvert the viewer's expectations.

RESUME

Rua Joaquim Antunes, 198
05415-000 - S“o Paulo, SP - Brasil
Telefone: (5511) 3085-5540
Fax: (5511) 3085-3646
E-mail: msammaro@sanet.com.br

Solo Exhibitions
1999-Cuadrados- Museo de Arte y DiseŇo Contempor·neo - San Jose, Costa Rica Site: http://www.cr/arte/musecont/
1997-Squares- Washington Square East Galleries - New York,USA
1996-Fragmentos - Banco Central do Brasil - S“o Paulo, Brazil
1995-Pinturas e Desenhos - EspaÁo A Lanterna - S“o Paulo, Brazil
1993-Pinturas - Itaugaleria - Campo Grande, Brazil

Selected Exhibitions
2001-Arquetipos - Museo de Arte y DiseŇo Contempor·neo - San Jose, Costa Rica
2000-Pequenos Formatos - Valu Oria Galeria de Arte - S“o Paulo, Brazil
2000-Um Ano, Doze Artistas - Agnus Dei Galeria de Arte - Belo Horizonte, Brazil
2000-Nomads Forever - TransCultural Exchange - TransHudson Gallery - New York, USA
2000-2000 London Biennial - TransCultural Exchange - London, UK
2000-VI Sal“o UNAMA de Pequenos Formatos - BelČm, Brazil
1999-Nomads- TransCultural Exchange - Kwanhoon Gallery - Seoul, South Korea
1999-Fifth Annual Venice Alumni Exhbition - Casa Italiana Zerilli Marimo - New York, USA
1998-1998 Invitational Exhibition - Center for Emerging Arts - Miami, USA
1998-No Boundaries -TransHudson Gallery - New York, USA
1998-Projeto ar e Ar - Sesc Vila Mariana - S“o Paulo, Brazil
1998-IV Sal“o UNAMA de Pequenos Formatos - BelČm, Brazil
1998-Recollections of Venice - Casa Italiana Zerilli Marimo - New York, USA
1998-Small Works - Washington Square East Galleries - New York,USA
1997-Clara Scarampella Lombardi e gli Americani - Galeria AAB - Brescia, Italy
1997-Venice Remembered - Casa Italiana Zerilli Marimo - New York, USA
1996-Works in Progress from New York University - Venice, Italy
1995-Works in Progress from New York University - Venice, Italy
1994-Abstract Strategies - Ward-Nasse Gallery - New York, USA
1994-Studio Intensive Painting Exhibition - Rosenberg Gallery at NYU - New York, USA
1993-50† Sal“o Paranaense - Museu Arte Contempor’nea do Paran· - Curitiba, Brazil
1993-Sete Artistas Contempor’neos - Itaugaleria - S“o Paulo, Brazil
1993-Pinturas - Itaugaleria - Belo Horizonte, Brazil
1993-Sete Artistas Contempor’neos - Centro de Inform·tica e Cultura - Campinas, Brazil
1989-Desenho com Fernando Stickel - Galeria Montesanti - S“o Paulo, Brazil

Education
1998- present Post-Graduation on Comunication and Semiotics - PUC/S“o Paulo, Brazil
1997-Art History- Escola do MASP- S“o Paulo, Brazil
1994/97-Master of Arts - New York University - New York, USA
1993/94-Art History with Rodrigo Naves- S“o Paulo, Brazil
1990/93-Drawing and Painting with Carlos A. Fajardo - S“o Paulo, Brazil
1987/89-Drawing with Fernando Stickel - S“o Paulo, Brazil
1979/83-B.A. in Architecture - Universidade Mackenzie - S“o Paulo, Brazil
1976/78-B.A. in Industrial Design - Universidade Mackenzie - S“o Paulo, Brazil

Award
1996-"Clara e gli americani" - Brescia, Italia
1996-"Dentrofuori " - Video Arte - Award Sindaco di Venezia - Venice, Italy

Selected Collections
Clara Scarampella Lombardi - Brescia, Italy
Museo de Arte y DiseŇo Contempor·neo - San Jose, Costa Rica