“Brinca. Abraça. Toca. Escuta.” it ́s an invitation to play, hug and listen. Inspired by rituals I have grew up with, I have created different sound objects that can be activated with touch and respect. I perceive my sculptures as a soundscape, as if they were alive and constantly changing. I like to invite people to touch my work, playing with objects as if they were subjects with a will of their own, a voice of their own, a sound of their own. Through this practice I want to nurture the inner child. The child doesn’t know the separation between human and non-human actors, naturally grasping a living object, loaded with fantasy and tangible mystery. This is for me the spiritual role that art has always carried and is nowadays sometimes forgotten.

This sound sculpture is dedicated to Irôko, the Orixá of the tree and the entity of Time. Irôko is a sacred presence in both West African Yoruba tradition and Brazilian Candomblé, serving as the bridge between the celestial (Orum) and the earthly (Ayê). In fact, trees connect through their extremities, their roots and their branches, the earth with the sky.
Using linden wood and lamb bones, I’ve created a tactile sound sculpture that can be played with touch. The bones spread the vibrations of the strings through the wood, allowing the tree to finally speak, not just to be heard, but also to be felt while being hugged.

Ibeji is a sound sculpture made of wood and that can be combined with a bronze helmet (Ori) which you can play gently by using a set of mallets or with your hands .

Ibeji or Ibejis is the twin orisha of Candomblé and Yoruba culture, protector of children and twins, symbolising joy and innocence, associated with sweets, toys and games.

It’s a sculpture that embraces playfulness and can be played simultaneously by two people.

Ambivalence and disguise are means by which play can manifest itself, just as nature, animals, and plants do, as a form of resistance.

Fight-Dance No.02“ consists of two figures cast in bronze, which can be moved on the metal pedestal, generating different postures, and sounds due to the friction of the sculpture with the pedestal.

It’s allowed to caress, move, rub, play and listen. Gloves should be used to activate the sculpture.
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Documentation of the public activation of some of my sound subjects at the exhibition Gute Gesellachaft at Wilhelm studios during my graduation show and at at the exhibition Shades of Red at FU Berlin.