Arquivo Vivo

Some paintings do not belong entirely to the present. They appear to arrive from a deeper temporal field, one in which the body receives experience before it becomes language: breathing the forest, absorbing songs, and passing through eight ceremonies marked by surrender, retreat, and transformation.

In this work, the white serpent concealed on the back of the canvas functions not simply as a visual gesture, but as a river of memory. Its winding form suggests a knowledge registered by the body before it can be organized by the mind into narrative. It carries within it the traces of ritual encounter: Jorge touching the forehead with rue water, Sulmira dispelling a shadow through her ícaro, the lungs opening to flowers, and the sun speaking in a private language that could only be understood in that altered state of perception.

The serpent becomes a Lembrana, a remembering membrane that both preserves and activates experience. In this sense, it resonates with Osho’s idea of remembrance, understood as the sustained practice of remaining awake to the inner witness while life continues to unfold. Rather than illustrating memory, the work proposes memory as a living perceptual structure.

The Lembrana marks the point at which the painting returns the viewer to presence. It operates as a device for attention and as an active organ of memory, holding what was absorbed beyond speech while inviting the viewer into a renewed state of awareness.

The arrival of coconut fiber from Luxúria de Orvalho onto this surface can be read not as accident, but as recognition between works. Its presence reinforces the painting’s internal logic, as if matter itself were confirming the existence of a river, a process of healing, and a form of bodily knowledge that exceeds ordinary recollection.

What emerges is not a symbolic illustration of memory, but a material and perceptual system through which memory becomes embodied, spatial, and active.

From this logic, the series Lembranas / Remembrances takes shape as a constellation of autopoietic fragments, perceptual organs, and entities that preserve what was absorbed beyond language. These paintings do not merely represent remembrance; they perform it, holding memory on behalf of the viewer while also teaching the viewer how to return to it consciously.

LEMBRANAS / REMEMBRANCES, 2015/2025
Óleo, tinta acrílica, argila, resíduos de coco e sal, detritos marinhos, objetos do cotidiano transfigurados em constelações pictóricas.
Oil, acrylics, clay, coconut and salt residues, marine debris, everyday objects transfigured into pictorial constellations.
35 x 27 cm ~ 13.8 in × 10.6 in

As imagens e os vídeos do processo, com seus metadados expostos, funcionam como provas sincrônicas, registros não apenas da pintura, mas de um encontro entre corpo, matéria e máquina. O gesto filmado, o arquivo datado, o detalhe ampliado: tudo se torna uma camada de evidência.

Arquivo Vivo
https://www.patreon.com/EpistolarywiththeMachine

The process images and videos, with their exposed metadata, function as synchronic proofs, records not only of painting, but of an encounter between body, matter, and machine. The filmed gesture, the dated archive, the amplified detail: everything becomes a layer of evidence.

Living Archive
https://www.patreon.com/EpistolarywiththeMachine