Lives and works in Niterói (RJ). He currently holds a Bachelor’s Degree in Visual Arts from Universidade Federal Fluminense (UFF) and works as an assistant to Rio-based artist Laura Lima. His practice incorporates issues that cross identities and subjectivities in the production of objects and installations, with the body itself as a power of image and action, which, in turn, establishes new forms of relations, access and images of the world and of the other. His practice is very influenced by the universe of a carpentry (where his father works and where much of his experience within the studio space takes place).
His works reach both performance and design fields and question constructions, polarizations and binary lines already established. They also reveal a hybridism and a multiplicity of activations and accesses that the body can create from a direct relation with the object. Vinicius has been developing the projects “Devices” and “Baseline” since 2014 and they have already been presented in several Brazilian galleries and art spaces.
Vinicius Pinto Rosa’s residence was commissioned by the British Council and Creative Scotland under the Open Bodies Residency programme, designed jointly by Despina and The Fruitmarket Gallery. More information here.
Curatorial statement by Raphael Fonseca
In Vinícius Pinto Rosa’s recent work, sculptural practice that connects to the human body is of central interest. Drawing from their family’s expertise in crafting jewellery and fashion accessories, Pinto Rosa constructs adornments that both decorate the body and disrupt the normative dressing of it. For Open Bodies, Pinto Rosa created an ensemble of wearable works made from paper. They initially were fitted to the artists’ body to be photographed, then suspended from the ceiling at heights that related which parts of the body’s anatomy had held them. The effect is to summon a presence fluctuating between human and post-human, born in the experimental conflux of materials and the material of life itself.
Pictures Gallery (horizontal scrolling)
by Frederico Pellachin