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In his first series of works in fine arts, Thiago, who had the basis of his training in dance, elaborates sculptures. The interaction and friction between materials produce chemical reactions that alter their physical states. The primary design of the works is revealed in the oxidation of iron when it interacts with water. The plaster, when involved with gauze and resin, becomes rigid yet malleable, filling the structures composed of many layers and textures, always willing to reveal the construction mechanism of each work, exposing what is inside.
In this research about the processes of transformation of bodies, he creates a fiction with its own mythology. They are sculptures of organic forms, which sometimes allude us to complex organisms, primitive bones and inhospitable landscapes. These body structures are suspended by nylon threads and seek balance through asymmetry, interconnecting with each other and generating a continuous movement of action and reaction.
The work creates a space of contemplation and noise when it proposes, in its encounter with the other, possible Ways To Access A Body. They are mobile bodies that in relation to space, light and the movement of the air around them, execute choreographic compositions that resignify the relationship of the artist with the body and the movement. Thiago had his dancing career suspended when he broke his knee ligaments. In this context, his work manifests itself through a practice permeated by spiritual and healing processes. A game of intuitive and unexpected movements, in which the interactions between the immaterial and the material compose a choreography with the possibility of infinite dynamics. The basis of this new dance is inverted: there the weight yields to gravity but is sustained from above; there is no discharge or friction on the ground. From this new form of organization arises the construction of the utopia of a body that unfolds beyond the body.
um corpo só
In his first series, Thiago proposed to create utopian bodies to generate access to transcendence to the other. In this series sequence, he returns to the body now pointing towards grounding. Work developed in quarantine during the 2020 pandemic ,Ways To Sublimate A World is a deepening on the material and poetic resources that permeate his research. A production of 09 pieces conceived between March and September 2020 in Santiago, Chile.
Besides wire, plaster, cotton gauze and resin, he incorporates in his work the use of porcelain and iron rods. In this project the scales of his works increase considerably and this time, with a few exceptions, the sculptures are supported from the ground, provoking a dialogue between architecture and nature, between systems of organisation and savagery, the beautiful and the grotesque.
The organic forms are still there, but this time they are interfered with with iron rods that cross and at the same time sustain the structures. The porcelain reiterates the condition of fragility and vulnerability of the bodies at the same time as it potentiates them. The paradoxes that we find in this work expose a world of uncertainties, fissures and a dissonant noise that reverberates inside the door. A war conflict that invites the gaze to re-establish itself in front of collapses and reparations.
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