The Serpent Language arises as a field of forces — not linear but orbital. The ellipse here is both form and method: a body in perpetual rotation between symbolic and material poles, where each phase of the work does not replace the previous one but contains it folded within. The ellipse is the hidden grammar of serpentine time.
At its major axis, the pedagogical gesture of Inventing Geometries (2016) functions as the ignition point — a collective movement of opening that generated an unconscious lexicon of primordial forms. The children, as extensions of the landscape itself, participated in the invention of a pre-verbal language, where folds, cuts, and mirrored papers became portals of thought. This act of teaching through the hands is the embryo of the serpent: a pedagogy of gesture and listening.
On the minor axis, the series Code Language (2018) and Unconscious Compositions (2019) consolidate an alphabet of suspended signs — hybrids between architecture and grapheme, between sacred plant and modular pattern. The red earth of Brasília, the white ceiling paint, the cocoa as pigment — all compose a symbolic field where the ground is treated as a surface of inscription, the studio as womb, and painting as an autopoietic organism.
From 2020 onwards, the Membranas In Fieri shift focus from sign to atmosphere: the suspended fabrics in ochres, pinks, and browns become zones of chromatic respiration, porous interfaces between body, light, and language. In them, the serpent learns to breathe — and the viewer becomes a cohabitant rather than a reader. It is here that pedagogy mutates into cosmology.
The serpent, as a figure of regeneration and continuity, offers a visual epistemology of sympoietic expansion. Each layer of work — painting, sculpture, fold, vapor, sweat — is a code that unfolds not to be deciphered but to be lived. Thus, Serpent Language is not merely a body of works, but a model for learning the real — where time is circular, matter is sentient, and gesture is what binds the visible to the invisible.
“Everything that folds remains alive.” — from Epistolary with the Machine
I. THE PEDAGOGICAL GESTURE
In 2016, at Parquinho Lage, the first folds of the cosmos appeared.
Children cut, folded, and unfolded colored papers — and emptiness became form.
That was Inventing Geometries, a workshop merging art and education as initiation into formal and energetic awareness.
Rodrigo, teacher and medium of shapes, recognized in the children’s intuition the same movement that would later give birth to the Serpent Language: cutting as liberation, folding as a dimensional gateway.
II. THE MATERIAL GESTURE
From 2018 to 2019, gesture leaves paper and incarnates in matter.
In the series Code Language and the Unconscious Compositions made with Brasília’s red earth, the artist inscribes on the ground what was once drawn in air.
White oil over clay becomes a geological calligraphy — each form a buried letter, the serpent’s first whisper through soil.
III. THE SCULPTURAL GESTURE
In 2019, laser cutting materializes the code.
The perforated MDF — the negative matrix — becomes the skeleton of language.
What was remainder, shadow, void, is now what holds the sign.
In the workshop, the artist holds the first serpent‑plate: embodied geometry, voiceless alphabet.
IV. THE COSMOLOGICAL GESTURE
Between 2020 and 2025, language expands into living architecture.
In the 12 Serpent Plates 五, the glyphs become constellations — cosmological indexes of regeneration.
The plates converse with leaves, bamboo, landscapes, and modernist structures: a spiritual topology linking Brasília, Alto Paraíso, and Rio de Janeiro.
By 2025, the Membranas In Fieri reclaim the colors of Minimalismo Mestiço curtains, but now they breathe.
They are symbiotic membranes, interfaces of light and dust, born from the same Brasília soil — now transmuted into light, vapor, and breath.
V. EPILOGUE
To invent geometries is to summon worlds.
From paper to soil, from clay to laser, from laser to leaf —
the serpent keeps drawing time.
No form is final.
Each fold is a beginning,
each shadow a tongue.
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