How Gustavo Prado Restaged a Myth in a Tree
Gustavo Prado
You are following
Follow
The work of Gustavo Prado employs sculpture, drawing, performance, photography and video to explore the manifold aspects of space. In the Perceptible series (2002-2011) the phenomenological experience becomes the crux of an investigation pursued within environments constructed with fluorescent lamps, fabric, metal structures and motion sensors, together forming a system which invites multiple responses to the encounter between body and place. In Trespass (2009), the artist uses a handheld rectangular mirror to project the intense summer light into the interiors of several apartments, a game which becomes a means of illuminating the boundaries of private space. In the Measure of Dispersion series (2014-2016), industrial metal structures with concave mirrors typically used to expand a driver’s field of vision create something akin to an “anti-camera,” which rather than fixing a moment or image of that which stands before it, reflects a fragmented body simultaneously located within different points in space, obfuscating the viewer’s perception of themselves and their surroundings as an integral and idealized whole.
Prado's work has been shown at "The Year of Brazil in France" at the Le Carreau du Temple, Paris; the “Rumos Visual Arts Program” at São Paulo’s Itaú Cultural Foundation; the Museum of Modern Art, Rio …
The work of Gustavo Prado employs sculpture, drawing, performance, photography and video to explore the manifold aspects of space. In the Perceptible series (2002-2011) the phenomenological experience becomes the crux of an investigation pursued within environments constructed with fluorescent lamps, fabric, metal structures and motion sensors, together forming a system which invites multiple responses to the encounter between body and place. In Trespass (2009), the artist uses a handheld rectangular mirror to project the intense summer light into the interiors of several apartments, a game which becomes a means of illuminating the boundaries of private space. In the Measure of Dispersion series (2014-2016), industrial metal structures with concave mirrors typically used to expand a driver’s field of vision create something akin to an “anti-camera,” which rather than fixing a moment or image of that which stands before it, reflects a fragmented body simultaneously located within different points in space, obfuscating the viewer’s perception of themselves and their surroundings as an integral and idealized whole.
Prado's work has been shown at "The Year of Brazil in France" at the Le Carreau du Temple, Paris; the “Rumos Visual Arts Program” at São Paulo’s Itaú Cultural Foundation; the Museum of Modern Art, Rio de Janeiro (MAM-Rio); the Paço Imperial Cultural Institute, Rio de Janeiro; and the Sergio Porto Cultural Space, Rio de Janeiro. He is a recipient of the “Projéteis” Contemporary Art Award by the Brazil’s National Foundation for the Arts (Funarte). His work has been acquired by the collections of Gilberto Chateaubriand and Ricardo Rego. The artist has been a participant in various residencies, including Aprofundamento Program at the School of Visual Arts of Parque Lage; and the Sculpture Installation and New Media Art Residency at New York’s School of Visual Arts. Prado has published critical essays in several of Brazil’s top art publications, and is an editor and co-founder of Jacaranda Magazine. He lives and works in New York.
Courtesy of the Artist
Born 1981
Hometown Rio de Janeiro, Brazil
Lives and Works Brooklyn, New York
Education
Escola de Artes Visuais do Parque Lage, Rio de Janeiro, Brazil
Works Available for Purchase
No works
