Sculptures made of porcelain and Japanese white pottery. Rescuing the traditions and techniques inherited from his maternal grandmother, of Siberian shamanic origin, the artist plunged into the imaginary of legends and myths of fabulous birds of fire. The artist makes a direct parallel with the indigenous peoples of Brazil, severely threatened by the remarking and loss of their lands. “Resistance and Birth” succinctly evokes a national heritage of Tupi Guarani, sometimes forgotten and induces the observer to reflect on the survival and importance of these cultures in the ethnic and genetic construction of Brazilians.

In making the sculptures in a “noble” material such as porcelain, the artist aims to attribute “value” to the reference crafts of the Siberian and Amerindian proto cultures, as if for that it would be necessary ironically to make the work in the eyes of the observer close to a knowledge or glamor raw material like porcelain. In fact, it is a critique of the consumer society that seems to use only the visual elements to attribute value and meaning to certain peoples so threatened by our harmful lifestyle and economic prerogatives that destroy habitats and the cultures that have lived there for millennia .