Between the wall, the art and the street

Between the wall, the art and the street
About Rodrigo Sassi

I met Rodrigo Sassi wandering in the street: amongst skips, cages of angels and playground swings. The invitation to visit his studio and galleries came afterwards. I thus found myself between paints and “sculpture- installations”.
The paints are constructed by infiltrations. Dark stains and water marks appear in the frame. But the paints takes form at random. Constructed from within. A structure in cement riddled with cracks. Time. Humidity. Fungus. Infiltration. Colors. Water color.
In “Infiltrated Paints” Rodrigo deconstructs the concept of ownership. Nature is invited to paint with him. The gesture is fixed by the flow of duration. A frame-construction cavorts between the visible and invisible. The bottles of paint are, after all, in situ, in the gallery. They expose the creative process, only backwards.
I strain my eye to the surrounding scene. In an organic architecture, the “sculpture- installations” bring visions from the street to spaces traditionally reserved for art exhibitions. These are heave elements witch create a paradoxical dance between construction ( through the creative process and the architectural materials employed) and the deconstruction ( of the uniform lines of the traditional artistic environment   “ 13 and a half pairs of corners” and “That # Major Corner”, for example, explore continuous spaces. The sinuous corners propose an intertwining. The concrete blocks twist and turn through closed spaces.
In time of linguistic duality and confluence of mediums, Rodrigo focuses attention on the “between spaces” of contemporary art. Can we call then “urban-intervention-installations” in galleries? I recall an exhibition called “Camiri” by Nelson Felix, presented in the Museum Vale, and the “Timpani” installation, by José Spaniol, in the Mourmbi Chapel. Among images of recent productions of art history, I stumble. My perception is allowed perdition. After all straight paths are no fun. Esthetics, it we can still write in this context, walk hand in hand with accidental events.

Ananda Carvalho