Biography

Henrique Netto (b. 1991) was born the same year the first single-page World Wide Web was launched, signalling the dawn of the digital age. Thirty years later, in a post-pandemic world, Netto’s work resonates deeply with eco-technological anxieties. His art contemplates the physical and psychological impacts of digital technology, the relentless depletion of Earth’s natural resources, and the evolution of humans into biodigital beings, all set against the backdrop of an accelerating climate crisis. Drawing from Donna Haraway’s tentacular thinking and the Chthulucene, Netto invites viewers to reflect on new modes of being on a vulnerable planet.

Born in Brazil and currently based in Lisbon, Portugal, Netto’s multidisciplinary practice encompasses sculpture, photography, drawing, printmaking, and video. His deliberate use of found materials enables him to craft a visual language that articulates a multiplicity of origins and futures, transforming the present moment. This approach is exemplified in his seminal work, “Electroctopus Manifesto”, which serves as the catalyst for his ongoing research.

In “Electroctopus Breathing #01” (2021), Netto utilises discarded glass and electronic scrap to create a poignant commentary on the proliferation of electronic waste in our oceans. By fusing these materials into a singular, evocative object resembling a jellyfish, he reveals charred electronic debris encased within an air bubble seemingly on the brink of bursting, capturing the precarious threat to our marine ecosystem.

Netto´s work explores the intricate interplay between nature and technology, prompting a profound reconsideration of our evolving relationship with the digital realm and the constant transformation of our existence. His work stands as a compelling reminder of the urgent need to confront and address this delicate challenge of our time.

Born in Sao Paulo in 1991, you come from a family of artists. What was that like for you growing up?

I was raised in the studio, constantly surrounded by art. My mother is an awesome visual artist, my father is a great photographer, my grandfather was a sculptor, one of my grandmothers was a ceramist, and the other was an artisan. My aunts are artisans, my uncle is a photographer, and my brother is a dancer. With such a family, being interested in art, working with my hands, and experimenting with materials was a natural path for me. Through art, I felt I could empower myself by articulating or opening up discussions about important issues.

Before fully delving into your art practice, you had a career in film production. What motivated this shift?

I was previously involved in film production and saw firsthand the industry’s inner workings and bureaucracy. When I started directing, I realised I lacked the autonomy to fully express my vision. Although film was my career for a decade, leaving an imprint on my perspective, I decided to travel to Asia to gain new experiences. I visited the rice fields, a place I always wanted to see. Later, I moved to Portugal to start different projects, and in 2018, I began developing my work in visual arts.

This leads us to “Electroctopus Breathing #01,” the piece you will be showing at the Arte Laguna Prize exhibition.

Yes! ¨Electroctopus Breathing #01¨ is one of the pieces of a series of glassworks, sculptural objects referencing underwater pollution. I developed the series by fusing glass with electronic waste in a kiln. The result resembled a jellyfish, immediately connecting to the idea of underwater pollution. Inside the glass bubble is a charred electronic board, resembling the belly of a beast trapping burned toxicity.

This piece made me realise the kind of destruction we are inflicting on the planet—the gases we are burning and expelling into the atmosphere. I wrote a text about the philosophical impossibility of making this work, and the series is currently on hold as I seek ways to create it trapping the generated pollution.

How do you feel about your work being selected for the Arte Laguna Prize exhibition in Venice?

I am grateful for the opportunity to exhibit at the Venice Arsenale. It is incredibly encouraging for artists like me to share our work on such a prestigious platform. I am thrilled to present part of the Electroctopus project and expand my message about this urgent matter.

What impact do you hope to have with your work?

Joseph Campbell, in “The Power of Myth,” described the artist’s function as mythologizing their time—capturing the era’s essence in a way that becomes a lasting narrative. I want my work to serve as a photograph of our time 100 years from now. We are at a tipping point, and listening to the indigenous people of Brazil, we are heading towards the abyss with this digital transformation. My goal is to create awareness and share this message with the world.