(photographic prints on tracing paper / to be fixed on the wall with double-faced velcro / pictures show the largest version possible: 450cm on the wall + 450cm on the floor / length can be adjusted removing some prints)
Gigante was named in Portuguese because the word can be translated as either giant or Roda Gigante, meaning ferris wheel or giant wheel in our language.
The pace of repeated images accelerates. Overlayed transparencies saturate the eye and suggest a new image in addition to the photographic record itself.
Replication of the uniform support implies that we are facing a machine that perpetually copies the circular motion of the Universe.
Here, as the observer moves, perception of the work shifts, alternating between the recognition of the object already known and the arch that adheres to the edges of the room, detached from its central axis and the perfect curve.
Images themselves, the metallic wheel and its movement, are always fractioned - we never see the whole.
Two subjects interest me here: the movement itself and the dichotomy of the man versus machine.
Static, I record the world that moves. Although I have the same capacity of displacement as others, I choose to stand still and follow with the camera the metallic structure that accelerates, loses speed, and returns to rest in all its weight.
This external observation results in documented fractions that are then organised according to my memory of the rhythmic sound and the recorded images in a sequence that serves both remembrance and autonomous architecture.
Revolving moto is perceived by those who are coupled to the structure in a different manner than it was from my point of observation, and yet in another singular way to those who experience the work. There are distinctive times - but the circular and repeated moment present in the plastic manifestation seeks to mimic with the body of the observer that instant initially recorded. It merges then and now, interweaves the visions from the inside and outside of the structure.
The second subject matter attracts me not in the collaborative sense of men who operate machines, but of those who mechanically repeat movements. The click that captures the images bears witness to the pace of the city and its pauses.
The making of the art is also mechanical and repetitive because world and work here are one.
The wall has an active role as the work exists in relation to it. Paper architecture on masonry architecture. In tangent, a wall interrupts the large circumference and drives the sequence of images toward us. It cuts, opens the rim that no longer rotates. It is agent, not a mere holder for the photographs. There is continuity beyond the physical limits of the exhibition space.