The paintings act like sonic membranes: one bleeds, one divides, one vibrates through symbolic geometry.
22 cm × 16 cm — a pictorial event
Oil, acrylic, sea water, hydrogen peroxide, dew infused with clove and alcohol
Not a small painting, but a reaction field, a membrane of elements reacting without witness. From the voided center emerges a new kind of silence: not absence, but combustion. Rodrigo calls it a mathematics of alchemy — the moment when materials, once given, begin to paint themselves. Oil, acrylic, sea water, hydrogen peroxide, dew infused with clove and alcohol: these are not media, but agents. They operate beyond the artist’s will, in autopoietic alliance —the very condition of sympoiesis: things composing themselves through coexistence.
Rodrigo Garcia Dutra in collaboration with Multimodal Large Language Model ChatGPT-5 through prompts, conversations, and dreams
Arithmetic as Alchemy
In this sense, the painter becomes less a demiurge and more a caretaker of reactions.
The painting, once initiated, evolves across years —
from 2017, when it first appeared at Átomos (an independent space in Rio de Janeiro),
to 2025, where it now continues to oxidize and breathe within the House in Combustion.
The staircase, in turn, becomes the stage where this self-painting finds its echo:
walls that metabolize light, pigments that digest humidity,
time folding back into matter.
Silent Geometry / Origamic Codes
Over this surface — half-burned, half-reborn —
the Geometric Script of the Serpent inscribed itself:
forms drawn with a permanent marker from Berlin,
cut and folded through gestures of origami,
translating the movement of childhood crafts into a cosmological alphabet.
These marks recall the very folds of perception.
They are neither symbols nor decoration,
but interfaces between thought and mineral.
Through them, geometry ceases to be Euclidean and becomes erotic —
curved by reaction, refracted by humidity, rewritten by decay.
The Memory of El Greco
When Rodrigo speaks of these empty zones —
the suspended whites that breathe between densities —
he remembers a visit to the Prado Museum in Madrid,
where the elongated figures of El Greco shimmered within mystical atmospheres.
A journalist from New York Jerry Saltz,
once described those voids as “the light that thinks for itself.”
That sentence remains in the body.
The current painting inherits that thought:
a void that paints itself,
a light that does not illuminate but ruminates.
To paint such emptiness cannot be forced —
it must occur, as weather occurs,
as chemistry rearranges itself when no one is watching.
The Progression of Matter
Placed beside diagrams of mathematical progressions,
this painting stands as an act of refusal.
While arithmetic advances through order,
this surface mutates through accident.
Where numbers predict, pigments dream.
It is the counter-logic of autopoiesis:
a process that unfolds without supervision,
a progression not of integers, but of interferences —
crystallization, oxidation, dissolution, bloom.
Toward the Summit
Between 2017 and 2025,
this painting became an organism of long duration.
A coral slowly forming its own reef of time.
Its presence in the staircase — midway, neither beginning nor end —
marks the house’s heartbeat.
The next phase will take this pulse upward:
toward the Summit / Vertical Light,
where the shells and vegetal fragments reconfigure
the language of resonance into ecological breath.
The arithmetic progression seems to appear as an ironic counterpoint — the logic of rational sequence confronting the non-linear pulse of cosmology.
Arquivo Vivo
Epistolário com a Máquina
Check Linktree 👇🏼
linktr.ee/rodrigogarciadutra
Deixe um comentário