In Multiplicidades [Multiplicities] (2024), the paintings begin with the range of bodies, origins, and histories that share a single territory. I did not build an ideal world; I built a space where difference does not have to justify itself in order to exist. It is the reverse of what happens off the canvas, where whole populations are swept out of their places and strangeness becomes grounds for conflict.

The exhibition closes with Ponte de Chinvat [The Chinvat Bridge] (2024). In Zoroastrianism, the Chinvat Bridge separates the world of the living from the world of the dead, and what decides the crossing is neither reward nor punishment but the natural consequence of the choices a person made while alive. That is what drew me: the idea that a fate is the accumulated result of decisions rather than a verdict handed down. Discarding is one of those decisions.

In Sociedade do Descarte [Throwaway Society] (2025–26), the raw material comes from the trash. These are objects the city produces in order not to see — and they arrive in the work carrying what they have already lived: wear, damage, the remains of a function. Discarded data holds nothing. A discarded object holds everything. That difference is what the exhibition examines: what survives erasure when something is thrown away.

There is a thread running between the two exhibitions, and it is the same gesture at different scales. Byung-Chul Han describes a crisis of narration: too much information, too little memory, idleness replaced by the scroll, and with it the loss of the veil that gave things their mystery. What that loss produces is a world with no accumulated history. It is what I recognized in moving from the first body of work to the second: people pushed to the margins and objects pushed into the trash lose the same thing. The account of where they came from. The work does not give that account back — it only holds the disappearance still long enough for it to be seen.

What came before runs at a different temperature. The work was organised around accumulation and colour: dense compositions, a light palette, many layers of history in every surface. Japan brought visual vocabulary, fashion taught continuous research, and design gave the ground — rigor, discipline, direction. These works come from that period.