Entelechy

Sneeze 2020 - A COVID 19 form made from cast pelvic bones, representing our human fragility during the pandemic. The form then multiply repeated creates an imaginary sneeze as if the virus were visible spreading through air. The Image is black and white, COVID 19 is so small it neither absorbs or reflects light. Colour seen in electron microscope images is artificially give. Despite its size it has caused havoc to human kind.


Sneeze 2020

Now or never

Experiments from the same abstrakt shape.

ABSTRAKT

Small Series of abstract, geometric pieces done in Cinema4D.
Exploring the human psyche through each piece. 
Tell me what you see when you look at these. 

Digital Playground

Full Of Hot Air (2018)
hot-water bottle (thermoplastic resin), bicycle valve (Sclaverand), cement 
18 x 20 x 32 cm (H x W x D)

“I have to say, that for my installations in public space I never know which medium and material eventually I will end up working with. The history and the conditions of a place inspire me and lead me. There was a time when I often was the only artist in a gallery group show showing in the outdoor space. I was often overlooked as a participant of the exhibition and people did not realize that somewhere out there one of the artists had created an additional work. I must admit that I was not really happy with this situation.
So I started to create a small corresponding object, which could be also shown in the gallery space. You can compare it with the idea of an edition. This is how I started to occupy myself intensively with objects and sculptures, which are now an important part of my work. In my objects I pursue a similar strategy as in my interventions: irritation and integration. I try to find everyday objects that are able to merge together in order to provoke and irritate.“

Interview 2016
Floorr Magazine, London

Full Of Hot Air

‘Product Personality Cycle’ is looking at the cycles of consumption being driven
by brand personality and brand identity. Building on ideas of community and
commodification coming closer together through a feedback loop, there is a
cycle becoming apparent through advertising. It constitutes reusing and
recycling ideas and images. This loop of imagery also has the potential to
generate predictable consumer behaviour, which makes us underestimate
brand presence in our lives. Much more than that, it makes us blind towards
the reflections of society that can be used as base for marketing strategies by
corporations.

While these bold ideas of repetition might remain in the realms of hypothesis,
it is through Kööp’s images that they are brought to life, ultimately stopping
the process at work and actualising the cycle. These extreme and unusual
depictions of consumerism are driven by the imagining of limitless cycle of
branding and rebranding. It is a state where all control has been removed from
the consumers and product personality has replaced brand personality. By this
the series of photographs suggests a dystopia based on a lack of individual
ideas and the commodification of emotions.


Product Personality Cycle

This Must Have Been Love

Embroidery canvas from my collection FACTORIES.⠀
•Acrylic paint on canvas and DMC embroidery thread.⠀
Available for sale and open to bespoke commissions.

I started this project of embroidery canvas where I designed my own factories. I’ve been always fascinated with factories and the shape of their buildings. Sometimes the architecture of the factories is very random and always makes me think about the reasons and utility behind the design.

This is the design for my glasses factory.
"From that moment she began to see much better as if someone had put glasses to her perception. She began to observe small details that she was not aware of before, relate, connect, and develop."

GLASSES FACTORY

Every time I meet Dennis, I'm mesmerized by his beautiful features and kind and loving soul. He dreams of living in a gender free society,  where we are all connected through a universal energy.  Trying to overcome hardship and hurtful experiences, he transforms his grief in an almost angelic kindness. Accepting the darkness in himself and in all of us, he is a beacon of light.

I Messiah

Always Stand On The Bright Side Of Life (2019)
steel walker, pipe extension, lamp shade, light bulbs 
250 x 80 x 55 cm (H x W x D)

Through the careful selection of materials, Nicolas Vionnet succeeds in merging two completely different objects in a humorous and believable way. Although irony is clearly in the foreground, at second glance the work addresses serious themes such as aging, loneliness and loss of control. 

Always Stand On The Bright Side Of Life

Cutting through the space with the base principles of perspective, light and construction, the piece evokes a simplicity in it's palette and form. Each carpet thread used is knotted and constructed to create a grid; akin to any urban landscape and the idea of scaffolding. Taking from Einstein's theory of the space time 'fabric' and planetary objects having a depth in the grid, the knots are meant to show moments in time that are significant and moving thorough a controlled space. The threads are  golden yellow, the same colour of turmeric that is very close to my heritage. This also establishes a delicate thread of inquiry into the symbolic significance of the spice and the colour as well. Rooted to the earth, suspended in the space, light to touch and translucent in form; every detail is significant. 

The constructed deconstruction is meant to be light and easily installed, hanging or even static on the ground - architecture is essentially liquified to resemble a fabric of sorts and is yet solid in it's appearance. The fluidity of concept and thought is prevalent and yet gentle. 

Space moves

KAREN-B-GONE, a fantastical spray for the exclusive use of Black folx to rid them of harmful “Karen’s” Made in response to the May 25, 2020 Central Park Bird Watching Incident: https://www.nytimes.com/2020/10/14/nyregion/amy-cooper-false-report-charge.amp.html
Where Amy Cooper a white woman knowingly falsely accused a black man Christian Cooper (no relation) of assaulting her. 

With the known police violence in the US, this false accusation could have been a death sentence for Mr. Cooper. I imagine KAREN-B-GONE as a life saving measure—in the style of mosquito spray.

The piece was ran as an Instagram Ad on the @fubufactory profile to underscore the consumerism of the “moment”

KAREN-B-GONE

Walker (2017)

FeedScanner is a Chrome extension that automatically scrolls down your Facebook news feed while scanning it. As it scans through the feed, the extension filters out all the irrelevant ads and suggested posts by Facebook that contaminate your feed. The content you would care about - posts from friends, family and your trusted news sources - are transferred to a much cleaner interface which necessitates more focused reading.

FeedScanner eliminates all the distracting aspects of the Internet - multimedia, interactivity, hyperlinking, searchability, recommendations, and infinite scrolling, all of which are put out there by tech companies for the sake of “user friendliness” and “user engagement”. In reality, however, all these irrelevant features are competing for our attention and constantly disrupting us from paying sustained attention to what really matters.

The reading interface that accompanies FeedScanner liberates users from the outward train of passing stimuli in order to engage their attention more deeply with an inward flow of words, emotions, and ideas, an ability that many Internet users have been gradually losing due to long-time training of our brains to do more “efficient” reading on the Internet.

FeedScanner

Soviet DDR export TV-Set Telestar 4040 tuned into a pirate queer signal, translating quotes by various gender and queer theory writers and activist.

Referring to the notion of (gay) propaganda and television as its medium, this work explores the process of text transformation, as queer theory is transmitted through layers of digital analogue, and analogue to digital conversion, while glitch distortion refers to the censorship and misunderstanding.

PROPAGANDA

                       Der Mistelstand
                      Collage auf Pappe
                          70x50cm


                   

                   Der Zeitpunkt ist gekommen.
                      Wir werden eingeholt.
                      Die Natur erhebt sich,
  heftet sich an die Erzeugnisse unseres technologischen Hochmuts.
             Unser Dasein bedingt diesen Wendepunkt.
             Der langgehegte Traum der Megamaschine
                  sieht seinem Ende entgegen. 


                   

                       

DER MISTELSTAND  (2017)

Two partly dismantled motorbikes face each other. Their hectic honking and the aggressive pulling of the ignition remain a failing attempted rapprochement: None of their motors is ever been turned on. Both vehicles are exposed to a different movement inevitably, which’s consistent progress seems to have removed some of their parts already: Their own decay.

The horn, a universal sign of warning, becomes a mono-vocabulary language: A primitive dialogue is suggested that humanizes the mopeds, providing a dystopian picture: Disintegrating machines face each other as human equivalents in a social encounter, against their nature in restraint to standstill – Yet connected by their distant, disharmonious dialogue, that is based on warning signals. 


Ghostriders

The Project "Where is Zuhause?" funded by Berliner Projektfonds Kulturelle Bildung, it started with the artist Helena Mancelos together with the filmmaker & art director Carlos Vin Lopes creating a series of workshops with 12 refugee children living in Berlin.
The objective of the workshops is to offer a platform for expression and connection for refugee children, and collect the material produced by them in response to a series of visual and narrative stimuli.

This was a way to let the children manifest their emotions, exploring visual paths ranging from figurative representation to more abstract drawings. Subsequently, visual artists  connect each one of these visual expressions with a feeling, by writing down notes, some in the form of small paragraphs, others as single words.

​
In a secondary phase, the art directors Carlos Vin Lopes together with valerio Nicoletti reconverted these notes into visual compositions. Most of these pages are the result of a handmade process, using natural elements such as leaves, seeds, fruit and vegetables, wood, cotton, soil and mixing them with other “domestic” tools, such as fabrics, paper and cardboard scraps, shoelaces, cotton swabs, playdough, chalks.


The visual content of this project is organized into four sections, representing our attempt to connect with the children’s experience: the departure from their countries (journey), the welcome in Germany (arrival), the integration into this new reality (adaption) and the next steps (future).

 

We hope that this small project can help us navigate this process together and cast a colourful light on our common tomorrow, by continuing to look into each other’s shoes. 

Where is Zuhause? - Art project with refugee kids in Berlin

This series contains 3 pieces. "Home" (Lar, in PT); "Jantar" (Dinner, in EN); Machuca as Mãos (Hurts Hands, in EN)

Analog cut-pasting of architecture and design magazines, supported on steel nails fixed to the wall.

13 x 16 x 2 cm (each one)

Silhouette and dimensions similar to those of a Taurus G2c - .40 S&W pistol, which became one of the most sold in Brazil after a decree signed by the federal government in 2019. Until then, this weapon, of greater power, was for restricted use by the armed forces and police, and it cannot be offered to ordinary citizens.
In December 2020, the G2c - .40 S&W costs approximately four minimum wages.

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