25 November, 2025 - 20:00h
Art Auction IABSP
Lot 1
In this small format painting, I start from the idea of a "song" - this meeting point between plans that interests me as a structure and as a metaphor. Here, space is built from colors that seem to support the place: yellow and pink form the walls, blue and brown define what is on the ground floor, and the lilac creates a passage line between them. I like how these colors, although simple, create an ambiguous feeling. It is as if we were seeing a photographic record - or memory - an attentive look in search of fixing something that time takes, probably something of the silence and the ethereal present in the daily life that goes unnoticed.
Carolina Martinez
Colors To Build23 x 28 x 3 cmacrylic and oil on canvassigned on back2025The work participated in the exhibition "A Cor do Tempo", an individual by the artist in September 2025, at the Centro Cultural Correios Rio de Janeiro, curated by Paula Plee.In this small format painting, I start from the idea of a "song" - this meeting point between plans that interests me as a structure and as a metaphor. Here, space is built from colors that seem to support the place: yellow and pink form the walls, blue and brown define what is on the ground floor, and the lilac creates a passage line between them. I like how these colors, although simple, create an ambiguous feeling. It is as if we were seeing a photographic record - or memory - an attentive look in search of fixing something that time takes, probably something of the silence and the ethereal present in the daily life that goes unnoticed.
Lot 2
In Anachronics, Alan Oju investigates the flags as symbolic forms in constant transformation, reflecting on their bonds with identity, power and ideology. The works present shapes painted on concrete plates, in which the artist explores the semantic and political character of these symbols, intending their permanence and actuality.
Alan Oju
Anachronous #1380 x 24 x 4 cmobject-painting / concrete and latex paint.signed on back2025Exhibition "Devices", São Paulo Cultural Center, 2025.In Anachronics, Alan Oju investigates the flags as symbolic forms in constant transformation, reflecting on their bonds with identity, power and ideology. The works present shapes painted on concrete plates, in which the artist explores the semantic and political character of these symbols, intending their permanence and actuality.
Lot 3
Sergio Augusto Porto
Untitled (from The Fluted Glass Series)57 x 98 cmcorrugated glass, expanded pvc, mirrored acrylic plate and aluminum1990-2025Central Gallery 2025.
Lot 4
The series "Quebranto" integrates the artist‘s most recent research in which threads of twisted paper, used both in the industry and in handicrafts, are repeatedly distorted, twisted and weaved in different types of ties, generating shapes that resemble branches and leaves. In the case of "breaking", the work consists of long sheets created with this material, tied in a beam that resembles the amulets of herbs used to protect the domestic environment against spells and evil eyes.
Alexandre Brandão
Broken125 x 20 x 12 cmtwisted paper yarn2025The series "Quebranto", from which this work derives, is currently exhibited in the individual of the artist "Novas Natures", at the SESI Museum of Arts and Crafts, Belo Horizonte / MG.The series "Quebranto" integrates the artist‘s most recent research in which threads of twisted paper, used both in the industry and in handicrafts, are repeatedly distorted, twisted and weaved in different types of ties, generating shapes that resemble branches and leaves. In the case of "breaking", the work consists of long sheets created with this material, tied in a beam that resembles the amulets of herbs used to protect the domestic environment against spells and evil eyes.
Lot 5
This work was made using black spray on white MDF. Areas were covered with masking tape and circular stickers, the designs (circles and holes) were made with wooden drill. The variation of the circles on the white, black areas and between them creates an optical effect of instability and movement, thus resisting the natural immobility of the ‘design‘.
Alexandre Canonico
Butterfly72.5 x 92 x 2.5 cmspray paint on white mdfsigned on back2025Exhibition "Any form is another form", a dialogue between the Simões de Assis galleries and apartment 61.This work was made using black spray on white MDF. Areas were covered with masking tape and circular stickers, the designs (circles and holes) were made with wooden drill. The variation of the circles on the white, black areas and between them creates an optical effect of instability and movement, thus resisting the natural immobility of the ‘design‘.
Lot 6
The work proposes a reflection on contemporary eroticism - between pleasure and violence, life and death - transforming the body into a symbol of conflict and cultural criticism.
Alvaro Seixas
Eros / Porn30 x 20 cmacrylic on canvas2024Eros/Porn, a hanging figure appears in the center of the composition, surrounded by vibrant colors and intense gestures. The words *eros* and *porn* oppose love and desire to their distortion and commodification. The dense texture and the use of strong colors create a sense of excess and discomfort, evoking both vitality and decay.The work proposes a reflection on contemporary eroticism - between pleasure and violence, life and death - transforming the body into a symbol of conflict and cultural criticism.
Lot 7
Paulo Von Poser
Diamond City40 x 80 x 3 cmcoal, crayon, acrylic, ink on canvassigned2021/2025"Diamond City" is a new series of drawings and recent paintings more free of direct observation. They are the same places that I have always registered from the "new" center of São Paulo, but the colors and traits are in search of a sweeter and more affective city. This small screen features a view from the building of the former Hilton Hotel and heads to the region of the city where the city school behind the buildings (and also the IAB) is located. The Jaraguá is an imagined poetic presence over Largo do Arouche. On the back of the screen there is a surprise drawing.
Lot 8
Exhibition Collective Hug #4 at Associação Cultural Lanchonete Lanchonete - Rio de Janeiro - July 2025".
The work was developed in São Paulo in 2024, at the moment the artist was in an artistic residency at Espaço Delirium, the work in question was born from a drawing thinking of representing a necklace of beads, the drawing was made in 2022 and is a tribute to an Italian singer who He became inspiration and also a friend, at the time the artist spent in Amsterdam. The artist finally decided to paint the drawing from years ago because she spent the residence in question listening to songs sung by her singer friend, it seemed right to honor.
Ana Flora Bavaresco
A Thousand And One Accounts For You40 x 60 cmoil paint on linensigned on back2024"Residence and exhibition at the Galeria Delirium - São Paulo January 2024.Exhibition Collective Hug #4 at Associação Cultural Lanchonete Lanchonete - Rio de Janeiro - July 2025".
The work was developed in São Paulo in 2024, at the moment the artist was in an artistic residency at Espaço Delirium, the work in question was born from a drawing thinking of representing a necklace of beads, the drawing was made in 2022 and is a tribute to an Italian singer who He became inspiration and also a friend, at the time the artist spent in Amsterdam. The artist finally decided to paint the drawing from years ago because she spent the residence in question listening to songs sung by her singer friend, it seemed right to honor.
Lot 9
The work "Caquinhos (Portrait)" belongs to the series "Casa 15" and was developed during the Pivô Arte e Pesquisa series in São Paulo in 2022. self-constructed in Brazil. The fragments settled show the manual gesture and the memory contained in the materiality of this popular coating.
Ana Hortides
Pieces (portrait)18,5 x 20,5 x 5,5 cmconcrete, sand and ceramics2022The work participated in the exhibition "Campo Aberto", Pivot, 2022.The work "Caquinhos (Portrait)" belongs to the series "Casa 15" and was developed during the Pivô Arte e Pesquisa series in São Paulo in 2022. self-constructed in Brazil. The fragments settled show the manual gesture and the memory contained in the materiality of this popular coating.
Lot 10
Iran do Espirito Santo
Cross Over Wall40 x 40 x 2 cmgranite sculpturesigned on back2011Cross-shaped sculpture performed in a single piece of granite.
Lot 11
The night series starts in 2020, during the remote residence at the pivot, and since then it has remained a recurring practice. The drawings take place between 11 pm and 3 am. This interval, when the world falls asleep and the body still watches, alters consciousness. I feel like I fall asleep, but the hand is still awake. I work with charcoal on newspaper paper. In the sky under midday (2023), markings, transfers and fleets merge with the image of a bonfire over time.
Ana Matheus Abbade
Heaven Under The Middle Of The Day (from The Night Series)31.5 x 21.5 cmcoal and risk transfer with the nails on newspaper paper 48 g/m².2023sprout in the void, atmospheric pitch. Curated by Clarrisa Diniz. Rio de Janeiro, Brazil.The night series starts in 2020, during the remote residence at the pivot, and since then it has remained a recurring practice. The drawings take place between 11 pm and 3 am. This interval, when the world falls asleep and the body still watches, alters consciousness. I feel like I fall asleep, but the hand is still awake. I work with charcoal on newspaper paper. In the sky under midday (2023), markings, transfers and fleets merge with the image of a bonfire over time.
Lot 12
Distanced from the wall by steel pins, the work casts shadows that build a "other space", a heterotopia. This microcosm, real and physical, evokes the function of the garden described by Foucault: a place where nature is tamed and organized, reflecting the human desire for control and beauty.
The scene, however, borders on abstraction. The fragmentary combination of the cut surface recomposes the incident of sunlight filtered by the leaves, an event that gives the work its name, from the Japanese: Komorebi.
Andre Barion
Komorebi Ii56 x 62 x 8 cmacrylic and nail polish without denim, cotton, voile and jeans, ironsigned on back2025The work Komorebi is articulated from the planned arrangement of the fabric and the organic and ephemeral visions that emerge from its interaction with the light. A kind of hybrid garden of shadows and overlays is generated from scraps of different fabrics, whose sewing lines intersect, composing the design of the work in a structural, constructive way. The symmetrical geometry of the piece - referring to the grating, the chess, a form that symbolizes the human will to organize and order nature, is here the starting point for recreating an eminently natural phenomenon.Distanced from the wall by steel pins, the work casts shadows that build a "other space", a heterotopia. This microcosm, real and physical, evokes the function of the garden described by Foucault: a place where nature is tamed and organized, reflecting the human desire for control and beauty.
The scene, however, borders on abstraction. The fragmentary combination of the cut surface recomposes the incident of sunlight filtered by the leaves, an event that gives the work its name, from the Japanese: Komorebi.
Lot 13
Artur Lescher
27 x diam. 1,8 cm2025
Lot 14
From a single photo of the artist, this image was worked with the help of AI software, to produce hundreds of variations of the same scene. The images generated are later painted in fine linens purchased at popular fabric stores in downtown Rio de Janeiro. When painting on very fine linen and without prior preparation for painting, the paint leaks to the back of the fabric. The image that is formed still accounts for the original composition, but becomes a combination of spots that make the painting more faded and fragmented. The verses are shown later, hiding the ‘original‘ image and revealing what was leaked through the fabric.
Like the artist, who paints practically the same scene every day, the figure of the bather exists in a narrative that does not conclude. He is always by the sea with a body that seems to be moving. With unusual poses, it is not clear what action he is acting, although he is certainly not contemplative. The narrative becomes a day that is always repeated, a gesture that is never completely completed or revealed. One day after another, every day, the same thing.
The bather brings a figure that insists on existing, performing his own wear and tear. That survives, not by heroism, but by the banal obstinacy of existence. The repetition of scenarios, bodies, gestures and actions does not suggest transformation, but a collapse of time, desire and meaning.".
Augusto Portella
The Bather30 x 30 x 2 cmoil on linensigned on back2025"A painting of a maritime landscape with the figure of a person by the sea. It is part of the series ‘The bather‘, with more than 100 paintings produced. theme.From a single photo of the artist, this image was worked with the help of AI software, to produce hundreds of variations of the same scene. The images generated are later painted in fine linens purchased at popular fabric stores in downtown Rio de Janeiro. When painting on very fine linen and without prior preparation for painting, the paint leaks to the back of the fabric. The image that is formed still accounts for the original composition, but becomes a combination of spots that make the painting more faded and fragmented. The verses are shown later, hiding the ‘original‘ image and revealing what was leaked through the fabric.
Like the artist, who paints practically the same scene every day, the figure of the bather exists in a narrative that does not conclude. He is always by the sea with a body that seems to be moving. With unusual poses, it is not clear what action he is acting, although he is certainly not contemplative. The narrative becomes a day that is always repeated, a gesture that is never completely completed or revealed. One day after another, every day, the same thing.
The bather brings a figure that insists on existing, performing his own wear and tear. That survives, not by heroism, but by the banal obstinacy of existence. The repetition of scenarios, bodies, gestures and actions does not suggest transformation, but a collapse of time, desire and meaning.".
Lot 15
Capturing the vibratory frequencies and transferring them to the screen, I witness the appearance of these handwritings, these images... Exus, Buddhas and Enchanted, all together and mixed.
Cabelo
Together And Mixed48 x 36 cmacrylic on canvassigned on back2018Delivered to a flow, a kind of trance, I am a vehicle, a medium, like a seismograph,.Capturing the vibratory frequencies and transferring them to the screen, I witness the appearance of these handwritings, these images... Exus, Buddhas and Enchanted, all together and mixed.
Lot 16
Daniel Bennett
Grass30 x 30 x 5 cmoil and wax on canvassigned on back2025The work Capim produced in 2025, using oil paint and beeswax, refers to forgotten landscapes from our childhood.
Lot 17
Daniel Frickmann
Monument To The Pracinhas15 x 12 x 2 cmoil on canvassigned on back2024Part of the Canapé series, composed of small-format paintings, the work portrays the monument to the squares, a landmark of the modernist architecture of Rio de Janeiro. This and other paintings from the series are made from photographs and authorial records made in the city. The scale of the painting, as in the other works of the series, alludes to the shape of a printed photograph.
Lot 18
Painting/object where the artist seeks to extrapolate the very limits of the painting, being painted with oil sticks made by the artist and built with a junction of a canvas nailed to another wooden surface and patches of glued fabrics. The idea is that the work is seen as an object, and not as a two-dimensional painting.
Daniel Mello
Contingency34,5 x 49,5 cmoil stick on canvas, fabric and wooden support.signed on back2025The work was exhibited at the Pentimento Exhibition, at Caroço Projeto, in 2025.Painting/object where the artist seeks to extrapolate the very limits of the painting, being painted with oil sticks made by the artist and built with a junction of a canvas nailed to another wooden surface and patches of glued fabrics. The idea is that the work is seen as an object, and not as a two-dimensional painting.
Lot 19
I painted this work in the quarry on the east side of São Paulo at one of the meetings of Ali East of Landscape Painting. We were in the Covid pandemic and it was one of the few contacts with the landscape I had in the year.
David Almeida
Quarry 224 x 19 x 2 cmoil on woodsigned on back2020He participated in the individual Arriba do Chão at Galeria Millan, was in 3 other press conferences.I painted this work in the quarry on the east side of São Paulo at one of the meetings of Ali East of Landscape Painting. We were in the Covid pandemic and it was one of the few contacts with the landscape I had in the year.
Lot 20
"Serie about Assata Shakur, born Joanne Deborah Byron on July 16, 1947 in New York, United States, was a political activist and writer who became an emblematic figure in the fight against racism in the US.
She was a member of the Black Liberation Army (BLA) and the Black Panther Party in the 1970s.".
Desali
Taught To Fight54 x 23 x 5 cmacrylic, printed photography, tracing paper on woodsigned on back2024exhibited at the Razuk Gallery in 2024."Serie about Assata Shakur, born Joanne Deborah Byron on July 16, 1947 in New York, United States, was a political activist and writer who became an emblematic figure in the fight against racism in the US.
She was a member of the Black Liberation Army (BLA) and the Black Panther Party in the 1970s.".
Lot 21
Diana Motta
Blocks40 x 10 x 4 cmcasein on canvassigned on back2023The transparency and translucency of the work refer to the subtle veil that separates our physical bodies from the spiritual world. It finds, in the game between materiality and technique, a contrast between spirituality and sensuality. The body thus becomes a vehicle for the spiritual.
Lot 22
Douglas De Souza
30 x 20 x 3,5 cm2025
Lot 23
Eduardo Nazarian
Origin N.4255 x 155 cmnatural pigments, earth and sand on fabric2025Part of the series *The Origin*, this work by Eduardo Nazarian explores the materiality of the Brazilian landscape itself by employing pigments, lands and sands collected in Bahia. The surface, divided into earthy chromatic fields, reveals a pictorial gesture that is born from the ground itself, evoking ancestry and territory. By transforming natural elements into color, the artist proposes a painting that is simultaneously geographic and spiritual - a meditation on the bond between matter and origin.
Lot 24
Elvira Freitas Lira
Could I Stay?100 x 100 x 10 cmacrylic and dry pastel on canvassigned on back2024This is a work that addresses the disengagement in a general way. It is one of the only works remaining in this style of the artist.
Lot 25
Erica Storer
Tired Look #125 x 27 x 4 cmrigid paste, drawing and printing on tracing paper 230 g, acrylic, paper, glass, led light (3 batteries).signed on back2025The unprecedented work Vista Tired #1 inaugurates a series of investigations into the relationships between body and work, taking as a starting point the consequences and body memories of a productive body. Its materiality - where light propagates - suggests a visual confusion that is difficult to read, resulting from the very opacity of the term "tired view". The frame of the work is a folder of organization, object-symbol of rationalization and control of work.
Lot 26
Adriana Coppio
Mushrooms 324 x 30 x 3,5 cmacrylic on canvassigned on back2025The painting Mushrooms 3 arises from my interest in the children‘s imagination and all its load of stupefaction in front of the simplest elements, making them magnificent and unique.
Lot 27
Estela Sokol
Little Truck, Little Truck15 x 27 x 5.5 cmpainted plasticsigned on back2025Vehicle consisting of three moons in a waning room. A small sugar engine in pink tonal variation. It moves between playing and projecting, inhabiting the interval between dreams and gestures. Designed for children and adults: especially architects, it preserves the amazement of drawing and the sweetness of the invented object. as well as the squares with their concrete toys; Sesc Pompéia, the toys of Torres Garcia. Quiet, you can slide on the table, carpet or bookcase, carrying souvenirs, city fragments and family memories. A pink tractor that walks slowly between time and concrete.
Lot 28
Evandro Prado
Cathedral Iv100 x 80 cmoil on canvassigned on back2025Recent painting of the series "Brasilia", portrays the construction of the capital‘s cathedral. The artist creates a metaphor between the country‘s construction and ruin through the iconic buildings of the modern capital designed by Oscar Niemeyer.
Lot 29
Fábio Menino
Green Candles Blue Background30 x 20 cmoil paint and beeswax on canvassigned on back2025The work is part of a series of paintings seeking to represent objects of everyday life that can carry a symbolic charge and how these objects can talk to the very language of painting.
Lot 30
Matter occupies a dominant role in the work of Felipe Seixas. is always in
situation of protagonism, which allows a direct perception of its properties.
arranged in space through basic and non-authorial forms, matter is often
contrasted with non-material elements.
For this, the artist uses materials such as concrete, steel and asphalt, together with lights and
Digital graphics - using projectors and monitors. The mixture of these elements leaves
evidence a relationship between the material and the immaterial, through the contrast between what is
physical and what is virtual.
Felipe Seixas
Untitled9,5 x 18,5 x 2,5 cmplaster sculpture2024To elaborate this work, the artist used different technical means. From a paper drawing, the pieces were modeled in 3D software and then printed on a 3D printer. From this, a traditional mold is made associated with sculpture techniques to finally generate this final materiality with the pigmented plaster.Matter occupies a dominant role in the work of Felipe Seixas. is always in
situation of protagonism, which allows a direct perception of its properties.
arranged in space through basic and non-authorial forms, matter is often
contrasted with non-material elements.
For this, the artist uses materials such as concrete, steel and asphalt, together with lights and
Digital graphics - using projectors and monitors. The mixture of these elements leaves
evidence a relationship between the material and the immaterial, through the contrast between what is
physical and what is virtual.
Lot 31
Gabriel Giucci
Flight Of The Guarás32 x 46 cmoil on linen2025This work depicts a group of guarás - vibrant red plumage birds - in mid-flight, captured in fluid and harmonious movement. Executed in embroidery, the composition highlights the contrast between the intense red of the birds and the neutral background, evoking lightness and freedom. The use of lines and colors conveys dynamism and delicacy, transforming the fabric into a poetic landscape where the manual gesture becomes painting and flight at the same time.
Lot 32
Gabriel Secchin
162 x 130 x 3 cm2019
Lot 33
"The work of Gabriel Torggler is characterized by the exploration of hybrid graphic and pictorial processes that dialogue between the materiality of painting and drawing and symbols, characters and graphics that start from images and representations of different cultures and everyday life.
His work investigates relationships between images created in disparate geographical and chronological contexts, their similarities and differences. The accumulation of information and the combination of symbols from cultures and different references is a recurring practice in their production, resignifying images and proposing new relationships.".
Gabriel Torggler
The Hand Ayamara70 x 40 x 3 cmautomotive paint, oily stick and oil on canvassigned on back2024Egg husk, mineral skin - 2024 (Grutta)."The work of Gabriel Torggler is characterized by the exploration of hybrid graphic and pictorial processes that dialogue between the materiality of painting and drawing and symbols, characters and graphics that start from images and representations of different cultures and everyday life.
His work investigates relationships between images created in disparate geographical and chronological contexts, their similarities and differences. The accumulation of information and the combination of symbols from cultures and different references is a recurring practice in their production, resignifying images and proposing new relationships.".
Lot 34
The painting Heaven is the Prize I brings the viewer to the same plane of this divine and powerful place, the sky, as a sense of belonging. The work is part of a series of 3 paintings that question the proposal of perspective, intention and power.
Gabriella Garcia
Heaven Is The Prize L100 x 80 cmoil and oil pastel on canvassigned on back2024The work was part of Gabriella‘s individual exhibition that carries her own title "Heaven is the Prize" curated by Ademar Britto.The painting Heaven is the Prize I brings the viewer to the same plane of this divine and powerful place, the sky, as a sense of belonging. The work is part of a series of 3 paintings that question the proposal of perspective, intention and power.
Lot 35
The work presents an ironic direct tension to neoliberal policies. Produced as a critical ludder from sharp materials used for security of private property intertwine, forming circles that allude to diagrams and forms that reify articulation practices from the social class bubble or taste.
Gustavo Torrezan
Cerbo (bubble)45 x 45 x 45 cmsteel and welding concertina.2024Exhibited in the exhibition "The memory is a contemplated landscape of a train in motion". Curated by Mario Gioia, in São Paulo, in 2025.The work presents an ironic direct tension to neoliberal policies. Produced as a critical ludder from sharp materials used for security of private property intertwine, forming circles that allude to diagrams and forms that reify articulation practices from the social class bubble or taste.
Lot 36
The Heavy Metal series consists of a set of paintings made of aluminum shapes with oil paint, brushes, cloths, all steel bushes in a drill, among other tools. In a game of addition and subtraction, trying to stretch the painting time, making it more rhythmic and tensioning it like a field of apparitions. Aluminum, as it is a massive surface, withstands being skinned, scratched, painted, repainted, polished, sanded, scraped, erased and licked with the paint many times. These paintings have a kind of hoarseness and an acute glow.
Heloísa Franco
Heavy Metal #1230 x 40 x 1,5 cmoil paint and steel loofahs on aluminumsigned on back2025Exhibition "Boca a Boca", at Espaço Fonte, in São Paulo, 2025.The Heavy Metal series consists of a set of paintings made of aluminum shapes with oil paint, brushes, cloths, all steel bushes in a drill, among other tools. In a game of addition and subtraction, trying to stretch the painting time, making it more rhythmic and tensioning it like a field of apparitions. Aluminum, as it is a massive surface, withstands being skinned, scratched, painted, repainted, polished, sanded, scraped, erased and licked with the paint many times. These paintings have a kind of hoarseness and an acute glow.
Lot 37
The expatriate series takes as a reference records of artifacts from the Americas and Africa, who have been displaced from their territories of origin, and proposes a reflection on the agency of these objects by the peoples to which they belong and the demand of the "luxury antiques" market in the global North, which makes them protagonists of millionaire transactions, opening discussions about the agency and the repatriation of cultural assets by the peoples to which they belong. Visual references for these paintings are taken from the main international auction houses and museum collections. This painting represents an artifact of jade representing the Maya god of corn found in a museum at the National Museum of American Indian, WashingtonG D.C.
Herbert De Paz
Encuentro Con Hun Hunapuh, Dios Maya Del Maiz (expatriate #11)80 x 60 cmoil and acrylic on canvassigned on back2025Good Neighbor Policy in Xou.Rumi (Helmet) Curated by Bruna Costa and Rubens Takamine. Rio de Janeiro, 2025.The expatriate series takes as a reference records of artifacts from the Americas and Africa, who have been displaced from their territories of origin, and proposes a reflection on the agency of these objects by the peoples to which they belong and the demand of the "luxury antiques" market in the global North, which makes them protagonists of millionaire transactions, opening discussions about the agency and the repatriation of cultural assets by the peoples to which they belong. Visual references for these paintings are taken from the main international auction houses and museum collections. This painting represents an artifact of jade representing the Maya god of corn found in a museum at the National Museum of American Indian, WashingtonG D.C.
Lot 38
Iahra
Convergents ||109 x 76 cmembroidery in raffia2025The work intends outbreaks of the form that attract and converge under a common gravitational field. In the embroidery gesture, the raffia threads operate as lines of force that intertwine, condense and move away, revealing a landscape of subtle movements between expansion and containment.
Lot 39
Jacque Faus
Untitled12 x 21 x 14 cmceramics2025The work is part of the Sementes series, which investigates the relationship between seeds and organs from their forms. This connection is translated into small ceramic sculptures that sometimes resemble the inner part of seeds and fruits, sometimes make us think of ovaries and glands. The work is part of an ongoing investigation, which seeks to tense and reflect these bonds.
Lot 40
"Mar de Cabeceira is a series of works started in 2018. Starting from collecting sea water from different places, I deposit this salt water in acrylic boxes, I let them dry naturally. Salt crystals, previously diluted, invisible to the naked eye.
Through work, I am interested in issues such as temporalities, transformation, the transition of matter, the continuous disappearance of things for the emergence of others, impermanence, and an inexorable relationship with nature.
The salinity changes from place to place and the final printed drawing "in the box will never be the same.".
Jonas Arrabal
Riomaggiore#2, Deep Blue (from The Sea Of Headboard Series)30 x 20 x 10 cmsalt extracted from beach in riomaggiore, italy, ligurian sea, acrylic and gelatin filtersigned on back2023The work was on display in my last individual "Rehearsal for a Dune" at the Athena Gallery, 2023."Mar de Cabeceira is a series of works started in 2018. Starting from collecting sea water from different places, I deposit this salt water in acrylic boxes, I let them dry naturally. Salt crystals, previously diluted, invisible to the naked eye.
Through work, I am interested in issues such as temporalities, transformation, the transition of matter, the continuous disappearance of things for the emergence of others, impermanence, and an inexorable relationship with nature.
The salinity changes from place to place and the final printed drawing "in the box will never be the same.".
Lot 41
José Damasceno
49,5 x 70 cm2015
Lot 42
Julia Da Mota
Deep Valleys30,5 x 25,7 x 0,3 cmwatercolor on cotton papersigned on back2023The artist from São Paulo Julia da Mota seeks in her works a phenomenological approach to the female body in relation to the space built by man. He is especially interested in the intersection between the notions of landscape, duality and borders. His is the result of a paused and reflective way of working - something that undoubtedly permeates his entire artistic production.
Lot 43
The work comes from drawings/paintings on paper that had a certain gravity, in addition to the vertical axis of mirroring, present in all my research. As these drawings referred me to domestic elements (oratory, key rings, etc.), I had the idea of also exploring three-dimensional aspects. The use of aviamentos is related to significant memories for me, alluding to floats abandoned by the city, carnival costumes, etc. Light is another very important component, mainly due to my interest in the iridescence of materials.
Laura Teixeira
Untitled20 x 26 x 4 cmnail polish and wood aviationsigned on back2024Individual exhibition "Ornamento é Crime", curated by José Augusto Ribeiro (Galeria Pilar, São Paulo, 2024).The work comes from drawings/paintings on paper that had a certain gravity, in addition to the vertical axis of mirroring, present in all my research. As these drawings referred me to domestic elements (oratory, key rings, etc.), I had the idea of also exploring three-dimensional aspects. The use of aviamentos is related to significant memories for me, alluding to floats abandoned by the city, carnival costumes, etc. Light is another very important component, mainly due to my interest in the iridescence of materials.
Lot 44
"All Forms of Love" is an installation composed of bronze sculptures that catalogs ways in which generations have been performing the heart gesture with their hands. The gestures are replicated from the artist‘s hands and reproduced in bronze.
Leandra Espírito Santo
Milenialls #2 (from The Series All Forms Of Love)13 x 17 x11 cmbronze and electrostatic paintingsigned on back2024SP-Art and Arterio."All Forms of Love" is an installation composed of bronze sculptures that catalogs ways in which generations have been performing the heart gesture with their hands. The gestures are replicated from the artist‘s hands and reproduced in bronze.
Lot 45
Leka Mendes
91 x 77 cm2025
Lot 46
Arcos Gallery - Plant of the Gasómetro - Porto Alegre/RES - 2008.
Institute of Contemporary Art - Recife/PE - 2013.
MAMAM- Museum of Modern Art Aloisio Guimarães - Recife/PE- 2025.
"The public transport scrapping program throughout Brazil, which since the mid-20th century has favored the growth of the automobile industry, has profound social implications. Circulation, on the other hand, our cities reveal how the replacement of trains, subways and buses with cars and motorcycles has urban impacts.
The transmutation of commercial, cultural, religious and other public spaces in large Brazilian cities in parking areas is the subject of the photographic series (2008), whose title underlines the contradictions and limits of the exclusionary and individualistic perspective of social life, alluding not only to the problem of transport, as well as unemployment.
In there are no vacancies, sets of images mounted on timelines, whose movement is given by the passage of our body in front of the sequences of photographs produced in Porto Alegre and Recife, Lia Letícia produces as critical a melancholy testimony about this historical process.".
Lia Letícia
No Vacancies10 x 131 cmdigital photograph printed in backlight2008Series of 10 unique pieces.Arcos Gallery - Plant of the Gasómetro - Porto Alegre/RES - 2008.
Institute of Contemporary Art - Recife/PE - 2013.
MAMAM- Museum of Modern Art Aloisio Guimarães - Recife/PE- 2025.
"The public transport scrapping program throughout Brazil, which since the mid-20th century has favored the growth of the automobile industry, has profound social implications. Circulation, on the other hand, our cities reveal how the replacement of trains, subways and buses with cars and motorcycles has urban impacts.
The transmutation of commercial, cultural, religious and other public spaces in large Brazilian cities in parking areas is the subject of the photographic series (2008), whose title underlines the contradictions and limits of the exclusionary and individualistic perspective of social life, alluding not only to the problem of transport, as well as unemployment.
In there are no vacancies, sets of images mounted on timelines, whose movement is given by the passage of our body in front of the sequences of photographs produced in Porto Alegre and Recife, Lia Letícia produces as critical a melancholy testimony about this historical process.".
Lot 47
Lourival Cuquinha
The X Of The Question35 x 35 x 10 cmembroidery in cotton thread on money banknotes, wooden spoon, coins2021Passing on the edge of social conventions, Cuquinha explores different languages and identifies himself with this story of not separating the art of life - a discourse, in fact, very recurrent in contemporary art. Using everyday life as a motto, he likes to show how the laws are relative, to mess up social rules. What is crime in one context may not be in another. The sale of drugs is illegal in much of the world, but in art it can be consented, for example.
Lot 48
The title, taken from a verse by Belchior, reinforces this idea of waiting and crossing. There is a feeling of interrupted path on the screen, of presence that is held in the middle. Each color, when adding to the other, creates a contained music, a harmony that insinuates itself at the edges of the form.
Lucas Almeida
Sitting By The Wayside40 x 50 cmacrylic on canvassigned on back2025Between overlapping planes and colors that intersect, sitting by the side of the path builds a pause. The shapes seem to lean on each other, as if the time of the painting accompanied the breath of the observer. The layers reveal the patient gesture - the search for a balance between transparency and opacity, between figure and silence.The title, taken from a verse by Belchior, reinforces this idea of waiting and crossing. There is a feeling of interrupted path on the screen, of presence that is held in the middle. Each color, when adding to the other, creates a contained music, a harmony that insinuates itself at the edges of the form.
Lot 49
It was a charming light that day. I was going to the beach with a friend a child, two dogs, I love children; We stopped on the way to eat something, took a picture of the scene and then painted, in my atelier, with the memory of the feelings of that moment.
Luciana Saad
Mac25 x 30 cmoil on canvassigned on back2017 -2019Tomie Otake - Exhibition of the Paulo Pasta course.It was a charming light that day. I was going to the beach with a friend a child, two dogs, I love children; We stopped on the way to eat something, took a picture of the scene and then painted, in my atelier, with the memory of the feelings of that moment.
Lot 50
The painting features a vertical composition in two fields of blue, two sequential times in comic book syntax. In the first, an egg breaks and its contents run off; In the second, the yolk and the white spilled over the surface. The viscous substance goes towards a luminous yellow sphere. The sequence, contained and comic, suggests the moment of a fall or imminent contact, intending pleasure and repulsion in a formal economy that evidences sequentiality and simultaneity.
Luís Teixeira
Viscous But Delicious50 x 40 x 2 cmoil on canvassigned on back2021Individual exhibition "Medonho" at Massapê Projetos in 2023.The painting features a vertical composition in two fields of blue, two sequential times in comic book syntax. In the first, an egg breaks and its contents run off; In the second, the yolk and the white spilled over the surface. The viscous substance goes towards a luminous yellow sphere. The sequence, contained and comic, suggests the moment of a fall or imminent contact, intending pleasure and repulsion in a formal economy that evidences sequentiality and simultaneity.
Lot 51
Luisa Brandelli
Untitled (cristiano Ronaldo)55,5 x 53 x 0,5 cmnewspaper and brass2024Second work of the series of works where I overlap images of the columns about football in the newspaper with brass plates, dialoguing with the layout of the images. The subjects feature failure football, for example, wrong kicked penalties or "in the national team Cristiano Ronaldo tries to erase tantrums from the Cup" in the case of this work. The newspaper is kept whole in the middle of two plates. It is a horizontal work that must be kept on a table or base, even if there is the possibility of installing it on the wall.
Lot 52
Curated re-enchantment proposals: Aldones Nino | Sesc Pompeii -São Paulo, Brazil (2022).
Curated re-enchantment proposals: Aldones Nino | Sesc Birigui - São Paulo, Brazil (2024).
This chalice is removed from me this chalice is linked to the music of Chico Buarque and Gilberto Gil and rescues the historical moment of Dilma Rousseff‘s trial during the military dictatorship, in 1970. The work reinterprets the iconic image of the interrogation, replacing Dilma with a quote View to the "Capium of Saint John" by Hans Memling. The military in the background, hiding their faces, reinforce the regime‘s cowardice and oppression. The presence of the chalice connects to the ace of the Tarot Ace of Cups, which symbolizes both the emotional potential and the challenges that arise in its fullness. The painting synthesizes Dilma‘s martyrdom and resistance, evoking sacrifice, renewal and denouncement to oppressive power structures.
Marcela Cantuária
Take This Chalice Away From Me (from The Urutu Oracle Series)90 x 77 cmoil on canvas2020Figure The Impossible Curator: Joyce Delfim | Palace of the Arts - Belo Horizonte, Brazil (2020).Curated re-enchantment proposals: Aldones Nino | Sesc Pompeii -São Paulo, Brazil (2022).
Curated re-enchantment proposals: Aldones Nino | Sesc Birigui - São Paulo, Brazil (2024).
This chalice is removed from me this chalice is linked to the music of Chico Buarque and Gilberto Gil and rescues the historical moment of Dilma Rousseff‘s trial during the military dictatorship, in 1970. The work reinterprets the iconic image of the interrogation, replacing Dilma with a quote View to the "Capium of Saint John" by Hans Memling. The military in the background, hiding their faces, reinforce the regime‘s cowardice and oppression. The presence of the chalice connects to the ace of the Tarot Ace of Cups, which symbolizes both the emotional potential and the challenges that arise in its fullness. The painting synthesizes Dilma‘s martyrdom and resistance, evoking sacrifice, renewal and denouncement to oppressive power structures.
Lot 53
Painting on wood structure found.
Marcelo Pacheco
The Sea In The Sun21 x 144,5 cmoil on woodsigned on back2023Individual Exhibition Wind Wood, 2023.Painting on wood structure found.
Lot 54
(Excerpt from critical text by Rosana Junqueira).
Mari Ra
Uvula100 x 120 cmoil on canvassigned on back2023I come across these little Marira paintings that keep contours inside them, tears of something to be deciphered, felt. They are parts, bands, the inside of a surgical gesture; curves and colors that fork. I want to gather these small curvatures, waves and pieces, to try to understand what is hidden behind these cuts, but it is impossible to make the effect that these ripples and folds bring me palpable. Mari Ra‘s paintings are marked by a cut, a blade that makes it possible to see the interior of something that is very intimate and singular. Perhaps the artist is always donating the possibility of looking closely at what happens after the cut, the fracture. I learned by seeing these little pictures that there is color and life in the pieces of things.(Excerpt from critical text by Rosana Junqueira).
Lot 55
The works related to this research investigate the relationships of technical, production and war artifacts, seeking to highlight the links between goods production, war, climate collapse and the rise of the extreme right.
Marilia Furman
Pump60 x 100 cmdigital photography (jet printing on cotton paper)2022/25The work was carried out in the production process for the 2022 exhibition Monstrous in Berlin, although it was never exposed. The image was made from a photograph of the 2022 Video 3 Cenas, on display at that time.The works related to this research investigate the relationships of technical, production and war artifacts, seeking to highlight the links between goods production, war, climate collapse and the rise of the extreme right.
Lot 56
Quadra Galeria (2024) and Gruta Galeria (2021).
The year is 2019, pre pandemic at Rua Major Sertório, downtown São Paulo, around 22:00 pm. The bucket, a banal element of the city, used to contain leftovers and leftovers, becomes here the protagonist of an almost performative gesture: combustion transforms the disposal into a spectacle. The work can be read as a visual commentary on the urban collapse, the environmental and social crisis, or simply as a raw record of that night, where fire illuminates the precariousness and brutal beauty of the metropolis.
Marina Nacamuli
Bucket On Fire, São Paulo, Sp 201915,7 x 21 x 2 cmanalog photography 35mm fine art print hahnemühle photo rag metallic 340gsigned on back2019No frame.Quadra Galeria (2024) and Gruta Galeria (2021).
The year is 2019, pre pandemic at Rua Major Sertório, downtown São Paulo, around 22:00 pm. The bucket, a banal element of the city, used to contain leftovers and leftovers, becomes here the protagonist of an almost performative gesture: combustion transforms the disposal into a spectacle. The work can be read as a visual commentary on the urban collapse, the environmental and social crisis, or simply as a raw record of that night, where fire illuminates the precariousness and brutal beauty of the metropolis.
Lot 57
Martin Lanezan
Abandoned House20 x 26 cmhand sewing, paint and beansigned on back2025The work forms part of a series of works that refer to the landscape of the pampa with old buildings abandoned in the face of the advance of cities. rural schools, warehouses or even houses that you can still see next to the roads.
Lot 58
Mavi Accorsi
I Can‘t Keep Looking Too Much At An Object Or It Triggers Me80 x 56 x 20 cmoily stick and oil on linen, woodsigned on back2025
Lot 59
Michel Scherer
Untitled, (from The Outdoor Free Painting Series, Minhocão, Thursday Night)27 x 35 x 2 cmacrylic and tempering on canvas plastersigned on back2025Carried out during the free outdoor painting action, the work captures the nocturnal flow of the Minhocão as a direct experience between the body and the city. Painting in this suspended territory is a gesture of presence - where asphalt becomes a pictorial field and urban light is a living matter. Between the noise of cars and the silence of those who sleep, the screen records the traffic between ruin and rebirth, art and life in permanent negotiation.
Lot 60
In Crab painting, a man bathes outdoors in a backyard, in the midst of a dense and earthy atmosphere. The scene, surrounded by dark tones and thick brushstrokes, evokes a moment of introspection and return to nature. The body partially submerged in water suggests both delivery and protection, gestures that dialogue with the symbol of the sign of Cancer, the crab, known for its bond with the home, sensitivity and self-care.
The backyard, intimate and everyday space, becomes a territory of freedom and refuge here. The painting transforms the banal act of bathing into a silent ritual of purification and reconnection with one‘s own body. The game between light and shadow, matter and mystery, makes a sense of shelter emerge, as if the outside world dissolved to make room for the essential gesture of taking care of oneself.
Thus, Crab is a meditation on vulnerability and fortitude: man strips himself, but finds protection in the same gesture. Nature envelops him as a shell - symbol of shelter and origin, making bathing an act of inner freedom.
Miguel Afa
Crab Ii50.5 x 40 x 4cmoil on canvassigned on back2025A sky to fit individual in the carioca agentil, 2025.In Crab painting, a man bathes outdoors in a backyard, in the midst of a dense and earthy atmosphere. The scene, surrounded by dark tones and thick brushstrokes, evokes a moment of introspection and return to nature. The body partially submerged in water suggests both delivery and protection, gestures that dialogue with the symbol of the sign of Cancer, the crab, known for its bond with the home, sensitivity and self-care.
The backyard, intimate and everyday space, becomes a territory of freedom and refuge here. The painting transforms the banal act of bathing into a silent ritual of purification and reconnection with one‘s own body. The game between light and shadow, matter and mystery, makes a sense of shelter emerge, as if the outside world dissolved to make room for the essential gesture of taking care of oneself.
Thus, Crab is a meditation on vulnerability and fortitude: man strips himself, but finds protection in the same gesture. Nature envelops him as a shell - symbol of shelter and origin, making bathing an act of inner freedom.
Lot 61
Miguel Nassif
Guadalquivir130 X 100 cmoil on canvassigned on back2025Nassif‘s work is concerned with transforming image into painting. Guadalquivir was born from an illustration of the whale - or rather, fish - from the story of Jonas.
Lot 62
Dawn between white and blue, painting captures the moment when light has not yet been decided - when the day is born in silence. Dawn inhabits the border between landscape and abstraction, where the artist‘s contained gesture turns color into a breath. The delicacy of the tones reveals not the rising sun, but the feeling of beginning, the brief interval in which everything seems possible.
Mim Guimarães
Dawn100 x 80 cmoil on linensigned on back2023Participated in ArtRio in 2023.Dawn between white and blue, painting captures the moment when light has not yet been decided - when the day is born in silence. Dawn inhabits the border between landscape and abstraction, where the artist‘s contained gesture turns color into a breath. The delicacy of the tones reveals not the rising sun, but the feeling of beginning, the brief interval in which everything seems possible.
Lot 63
attempt to capture a star.
In 2025, Mirela Cabral started to present works on a new support, high temperature ceramics.
Mirela Cabral
Capture12 x 12 cmceramicssigned on back2025Unique and exclusive work for the auction.attempt to capture a star.
In 2025, Mirela Cabral started to present works on a new support, high temperature ceramics.
Lot 64
Nati Canto
Evening30 x 30 x 5 cmbiosilicones of black cocoa gelatins, blue and green spirulinas, annatto and grape on wood.signed on back2025Noitinha proposes a condensed landscape in hybrid matter. Gelatin biosilicones, dyed by black cocoa, annatto, grapes and green and blue spirulinas, suggest the production cycle of cattle raising in a territory from which both this life and the industrial surplus emerge that transforms it. On the surface, a rocky layer; Below, lines like saps seem to mix with a pulsating sky, establishing an inversion of the horizon. Between opacity and clarity, between the organic and the chemical, between the matter that goes and what remains, the work takes place as a paradox of the presence: something that persists even when it is no longer, moving slowly in the space that memory inhabits, like the passing of night to day.
Lot 65
The painting, made in oil on canvas, brings the idea of visual fragmentation as a metaphor for thinking about memory and possible points of view for the same scene. The work bears as its title the verse of a poem by Argentina Alejandra Pizarnik.
Nina Horikawa
My Impossible Memory60 x 50 cmoil on canvassigned on back2024He participated in the individual "Ponto Cego, Fio Conductor", at the AM SP gallery, in 2024.The painting, made in oil on canvas, brings the idea of visual fragmentation as a metaphor for thinking about memory and possible points of view for the same scene. The work bears as its title the verse of a poem by Argentina Alejandra Pizarnik.
Lot 66
Nita Monteiro
Achadouro: The Shell Of Venus43 x 32,5 x 14 cmfinding: the venus shell ancient tiles, decorative ceramic vase, ceramic fragments, silver ornament, wood ornament fragment, shells, stones and ceramic groutsigned on back2025This work derives from the Achadouro installation, created from a collection of objects and fragments of the domestic universe. The work re-signifies these materials, collected, acquired or donated, creating new narratives and attributing new meanings to these elements that, in their bodies spent over time, carry stories and memories. Using the mosaic technique, the artist composes a patchwork of tiles, shells, stones, ceramics and other materials, configuring a fictional archeology of home and everyday life.
Lot 67
"Coated de Sol" is part of my most recent series: Small History of Desire and Lack where I worked on the expansion of the word ‘fetish‘ in my research. fetish as representation and the object itself. The biblical allusion in the title operates as a double meaning Yellow leads us to think of the relentless star while the obscure folds bring the reference to Bataillie‘s basic materialism. The object that looks at you, the abyss that invites.
Nuno Q. Ramalho
Sundae60 x 80 x 5 cmenamel and oil on canvassigned on back2025The work participated in the launch of the series, ‘Little History of Desire and Missing‘ that took place during the week of ArtRio 2025."Coated de Sol" is part of my most recent series: Small History of Desire and Lack where I worked on the expansion of the word ‘fetish‘ in my research. fetish as representation and the object itself. The biblical allusion in the title operates as a double meaning Yellow leads us to think of the relentless star while the obscure folds bring the reference to Bataillie‘s basic materialism. The object that looks at you, the abyss that invites.
Lot 68
Pablo Vieira
Trust Your Luck - Check Betting32,5 x 24 x 1 cmpainting on paper and business proposalsigned on back2025
Lot 69
Pàulla Scàvazzini
Romance Is Rolling30 x 30 x 2 cmoil paint on linen panelsigned on back2025The work "Romance é Romar" is part of the group of paintings on a smaller scale, conceived as windows or poetic refuges. Each piece works as a potential fragment of a larger painting, evoking the idea of a puzzle, or as its own synthesis. They act as an invitation to memory, contemplation and reconfiguration of space, provoking the look and the body to imagine the pictorial gesture expanding beyond the edges of the screen and projecting itself virtually through the walls, as a projector of possibilities and illusions. The spectator is encouraged to rethink the place of painting as a space for personal experience, opening horizons for the interdisciplinary dialogue between art, nature, architecture and the activation of the sensible.
Lot 70
The works of the Geographically Opened Social Segregation (SSGE) series reflect socio-environmental issues in a context of housing and urban displacement, tensioning art, politics and social space. The works of the SSGE/Erase series are intended to reveal social problems, which the Public Power insists on not prioritizing, these refer to basic sanitation, decent housing, climatic urgency, unbridled verticalization, etc. Therefore, the works carry with them a graphic aspect of erasure, fog, soot, smoke screen, etc.
R. Trompaz
Ssge / Erasing47 x 32,5 cmgouache and ink on duplex papersigned on back2023Jornal do Mundo - Martins&Montero, 2024.The works of the Geographically Opened Social Segregation (SSGE) series reflect socio-environmental issues in a context of housing and urban displacement, tensioning art, politics and social space. The works of the SSGE/Erase series are intended to reveal social problems, which the Public Power insists on not prioritizing, these refer to basic sanitation, decent housing, climatic urgency, unbridled verticalization, etc. Therefore, the works carry with them a graphic aspect of erasure, fog, soot, smoke screen, etc.
Lot 71
Rafael Baron
Joana120 x 100 cmacrylic on canvassigned on back2025
Lot 72
Rafael Triboli
Mirror55 x 4 x 70,85 cmwax, mahogany and bronzesigned on back202512 edition. If the part is sold, it will be produced on demand. Deadline: 6 weeks.
Lot 73
Raffaella Yacar
24 x 30 cm2025
Lot 74
Collective exhibition "Rios Real" Curated Ana V - Galeria Lado B, 2024.
The work "Ouro Benu" was conceived in 2022, during my visit to the Cosme Velho neighborhood, in Rio de Janeiro, where I shared a studio with an artist and dancer friend. It was produced in 2023 for the exhibition "Fires does not ask for permission", presented in the former Asphalt Gallery, located in Gamboa.
The figure of Ana - known as Ouro Benu - inspired me in that period. A black woman, free, with her morning rituals and her feet on the ground dance. From there, I decided to honor not only his presence, but all the racialized people who remain free from the bonds left by racism and slavery.
Exposing this work in Gamboa - a neighborhood known as Pequena Africa, territory of memory and resistance - carries a deep meaning.
The foot on the ground represents strength and rooting.
The red ground floor, house and fight.
The rattles in the anklets, freedom.
Renan Andrade
Benu Gold100 x 139 cmacrylic paint on canvassigned on back2023Individual exhibition "Fires do not ask for permission" - Galeria Asfalto, 2023.Collective exhibition "Rios Real" Curated Ana V - Galeria Lado B, 2024.
The work "Ouro Benu" was conceived in 2022, during my visit to the Cosme Velho neighborhood, in Rio de Janeiro, where I shared a studio with an artist and dancer friend. It was produced in 2023 for the exhibition "Fires does not ask for permission", presented in the former Asphalt Gallery, located in Gamboa.
The figure of Ana - known as Ouro Benu - inspired me in that period. A black woman, free, with her morning rituals and her feet on the ground dance. From there, I decided to honor not only his presence, but all the racialized people who remain free from the bonds left by racism and slavery.
Exposing this work in Gamboa - a neighborhood known as Pequena Africa, territory of memory and resistance - carries a deep meaning.
The foot on the ground represents strength and rooting.
The red ground floor, house and fight.
The rattles in the anklets, freedom.
Lot 75
This painting is carried out in constructive layers with acrylic and oil paint techniques. It is a work that refers to landscape and pictorial gestures. "Dois Montes" is a painting for those who like painting because it has texture and color construction.
Renata Egreja
Two Hills70 x 50 cm x 2 cmacrylic paint, pigment and oil paint on canvassigned on back2025He participated in the exhibition "A Montanha em Mim" curated by Marina Bortoluzzi at the Fonte Arts Residency in São Paulo in July 2025.This painting is carried out in constructive layers with acrylic and oil paint techniques. It is a work that refers to landscape and pictorial gestures. "Dois Montes" is a painting for those who like painting because it has texture and color construction.
Lot 76
Drawing made from the observation of the fire until it arrives at an abstraction without evoking what the fire has most characteristic, such as brightness and colors, but what happens after it and inside it.
Renata Haar
Fire45 x 34 cmdry pastel, oily pastel and gouache on papersigned on back2020Made during production for the individual "Like a Type of Wind" at the Gisèle Linder Gallery in Basel, Switzerland, in 2020. Paul, Brazil.Drawing made from the observation of the fire until it arrives at an abstraction without evoking what the fire has most characteristic, such as brightness and colors, but what happens after it and inside it.
Lot 77
Derived from the Rizoma (MAM São Paulo) and Fractal (Art Usina) installations, this work is part of the two-dimensional series. In it, Rodrigo Sassi investigates the passage between surface and volume, evoking modernist murals as the main reference. Molded in cement, the shapes reveal the contrast between the roughness of the material and the organic lightness of the contours of its composition. Unlike traditional murals where reliefs jump out of the surface, these sculptures are attached to it, standing out through the colors of the material and screws that visibly integrate the composition.
Rodrigo Sassi
Two-dimensional Series85 x 65 x 16 cmcement and screws2025He participated in the exhibition "A Persistência da Forma", cured by Francesco Perrota-Bosch in the AM Galeria de São Paulo Itineerando then to AM Galeria Belo Horizonte.Derived from the Rizoma (MAM São Paulo) and Fractal (Art Usina) installations, this work is part of the two-dimensional series. In it, Rodrigo Sassi investigates the passage between surface and volume, evoking modernist murals as the main reference. Molded in cement, the shapes reveal the contrast between the roughness of the material and the organic lightness of the contours of its composition. Unlike traditional murals where reliefs jump out of the surface, these sculptures are attached to it, standing out through the colors of the material and screws that visibly integrate the composition.
Lot 78
Romain Dumesnil
50 x 50 x 5 cm2023
Lot 79
Agustina Leal
My Thing30 x 24,5 x 2,5 cmspray on linosigned on back2024"Uma thing my" is part of a series of paintings carried out in recent years in São Paulo. In them I approach the emotional body: subjective experiences, affections, intimacy and intense emotions. I think about how each person carries stories, secrets and feelings that weigh-things we want to let go, but they stay, like attachment to an outfit, someone or an emotion. I wear disused clothes and worn underwear that, stretched like cloths, turn into stencils, leaving silhouettes that resemble Xerox: fragile, almost disposable images, but that remain as marks on memory and body.
Lot 80
"Switching on Kids" was held during my year of residency at the Viafarini Foundation in Milan, Italy.
The work is based on three main ideas. I wanted to play with the image of colored firearms, almost as if they were toys, creating a contrast between the playful and the dangerous - something comical, but which also ended up gaining a "comic" aspect, due to the final aesthetics of the painting. The title comes from another previous work, changing it into Miúdos 1, in which I paraphrased the song "Trando em Miúdos", by Francis Hime, especially the verse "Aquela Esperança de Tudo Seal, Por Esquecer".
Ana Júlia Vilela
Changing In Kids 230 x 40 x 2,5 cmoil on canvassigned on back2023Via Farini, Mil?o, Italy, 2023."Switching on Kids" was held during my year of residency at the Viafarini Foundation in Milan, Italy.
The work is based on three main ideas. I wanted to play with the image of colored firearms, almost as if they were toys, creating a contrast between the playful and the dangerous - something comical, but which also ended up gaining a "comic" aspect, due to the final aesthetics of the painting. The title comes from another previous work, changing it into Miúdos 1, in which I paraphrased the song "Trando em Miúdos", by Francis Hime, especially the verse "Aquela Esperança de Tudo Seal, Por Esquecer".
Lot 81
The painting "Pau de Cabinda" (2024) is part of the series "Fé Feitiço", shown at Galeria Simões de Assis, in São Paulo, in January 2025. 2023 and 2024, I sought to investigate Brazilian and Angolan popular beliefs.
The proposal was to delve into the faith transmitted by orality (a faith that inhabits the collective unconscious), without necessarily delving into the religious field. In Brazil, we have what we call "sympathies"; In this series, my interest was to understand the use of herbs, factories and protective gestures that can be intertwined with our culture. After all, Brazil and Angola have stories crossed by the Atlantic and share the roots of the Bantu culture, coming from Africa, especially from Angola.
The painting "Pau de Cabinda" covers the bark of a tree called Cabinda, widely used by men who face erectile dysfunction problems. Although the topic is considered a taboo in Angola (for touching on issues related to masculinity), there are differences around its use: traditional medicine does not recognize it, while ancestral medicine recommends it.
In the painting, we see a man carrying the cabinda tree over his head, while his penis is erect. This image can also be associated with Exu, orixá whose representation, in many contexts, is linked to the phallus and, consequently, to fertility.
The textures that make up the canvas are created with stones, which adorn the painting as a symbolic portal.
Larissa De Souza
Cabina Stick123 x 154 cmacrylic paint, applications and gold foil on linensigned on back2024Solo exhibition "Fé Feitiço", Simões de Assis Gallery - 2025.The painting "Pau de Cabinda" (2024) is part of the series "Fé Feitiço", shown at Galeria Simões de Assis, in São Paulo, in January 2025. 2023 and 2024, I sought to investigate Brazilian and Angolan popular beliefs.
The proposal was to delve into the faith transmitted by orality (a faith that inhabits the collective unconscious), without necessarily delving into the religious field. In Brazil, we have what we call "sympathies"; In this series, my interest was to understand the use of herbs, factories and protective gestures that can be intertwined with our culture. After all, Brazil and Angola have stories crossed by the Atlantic and share the roots of the Bantu culture, coming from Africa, especially from Angola.
The painting "Pau de Cabinda" covers the bark of a tree called Cabinda, widely used by men who face erectile dysfunction problems. Although the topic is considered a taboo in Angola (for touching on issues related to masculinity), there are differences around its use: traditional medicine does not recognize it, while ancestral medicine recommends it.
In the painting, we see a man carrying the cabinda tree over his head, while his penis is erect. This image can also be associated with Exu, orixá whose representation, in many contexts, is linked to the phallus and, consequently, to fertility.
The textures that make up the canvas are created with stones, which adorn the painting as a symbolic portal.
Lot 82
In the work "Folhas Secas", the artist creates a connection between figuration and still life, the reasons for the work dissolve in the background, inviting the spectator to intimacy by bringing him closer to the canvas so that he observes the subtleties of the work.
Samara Paiva
Dry Leaves73,2 x 100 x 4 cmoil without canvassigned on back2022Exposed in the individual portraits of a space time - Casa do Benin - Salvador (BA).In the work "Folhas Secas", the artist creates a connection between figuration and still life, the reasons for the work dissolve in the background, inviting the spectator to intimacy by bringing him closer to the canvas so that he observes the subtleties of the work.
Lot 83
Thiago Correia Gonçalves
Summer Catskills38 x 38 cmcasein, acrylic and oil on canvassigned on back2023This work is part of the series of paintings depicting the seasons and landscapes of the Catskills mountains in New York.
Lot 84
Thomaz Rosa
40 x 32 cm2020
Lot 85
figuration at the limit of abstraction. support tensioning. object/image.
Tiago Mestre
Cellar29 x 22 x 0,5 cmengobe over ceramicssigned on back2023Routes 2023, with Lamb Arts.figuration at the limit of abstraction. support tensioning. object/image.
Lot 86
The Basalto series is part of the Pedra Paulista long-term research, which investigates how the geological structures of the State of São Paulo support mineral extraction and urbanization. Started in 2023 during the Terra Saúva Residency (Botucatu), the project traveled through sand, granite and basalt quarries in the interior of São Paulo. The image records the quarry in Reginópolis, where basaltic columns formed by volcanic cooling are fragmented by regular explosions and feed the production of gravel and asphalt.
Valentina Tong
Basalt Iii55 x 55 x 4 cmuv print on silver canvas2023The Basalto series has already been exhibited at the Paranaense Museum, Curitiba, 2024 and almost space, São Paulo, 2024.The Basalto series is part of the Pedra Paulista long-term research, which investigates how the geological structures of the State of São Paulo support mineral extraction and urbanization. Started in 2023 during the Terra Saúva Residency (Botucatu), the project traveled through sand, granite and basalt quarries in the interior of São Paulo. The image records the quarry in Reginópolis, where basaltic columns formed by volcanic cooling are fragmented by regular explosions and feed the production of gravel and asphalt.
Lot 87
Luiza Crosman
Ore Composition24 x 24 cmacrylic on papersigned on back2023
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