Images produced without manipulation (DSLR Camera, Canon). These are scattered photos I took in different places, most of them in a forgotten corner of South America: Viamão, Porto Alegre, Antônio Prado (Rio Grande do Sul/Brazil), Montevideo (Uruguay), but also in Poland. Mannerist or Baroque works in Catholic churches, remnants of Severo Sarduy's "aesthetics of waste," of Lezama Lima's "entes del no ser." What Haroldo de Campos called "desbordamento da imagem" (I see clouds overflowing clouds, all loosing their boundaries, insidiously crowding their own space, secretly eroding it). 

Not dissimilar to Derridean reading of the classical idea of "parergon" (a leitmotif subjacent to all my other projects). La vérité en Peinture says the framework, sometimes invisible, ready to be displaced, isn't effaced. It rests constitutive of the aesthetic dimension itself, even if irrelevant in itself to it (the pretty frame). The free battle-play of projections, related undoubtedly to Kant but not less to Nietzsche (die kosmische plastische Kraft). All the more present when you photograph a painting or a sculpture, whose artistic status you can then expropriate and rescue just by reconfiguring its frame, its colour, the light. By obliterating or underlining its texture.    

I call the first image: "Old Answering Service," in reference to part A of Andy Warhol's philosophy. 

The following quotations are enlightening: 

"... le Christ véritable était une espèce de Bouddha..." (Gilles Deleuze, Nietzche et la philosophie).

"Os santos finos e delicados. Quando a gente toca são frios. Frios e divinos" (Clarice Lispector, Perto do Coração Selvagem).