- Alexander Canonico, “Uma coisa de cada vez (One thing at a time) #2”, 2016. Rubber, cable tie and wood 33 x 23cm. Photo credit: Everton Ballardin.
- Alexander Canonico, “Consequência (consequence)”, 2016. Rubber, screws, washers and wood 45 x 35 cm. Photo credit: Everton Ballardin.
- Alexander Canonico, “Untitled”, 2015. Acrylic frame, wall plug, 20,6 x 13,9cm. Photo credit:Ding Musa.
- Alexander Canonico, “Untitled”, 2013. Paper, thread, fishing weights and steel wire, 25,5 x 10,5cm. Photo credit: Ding Musa.
- Alexander Canonico, “19 x 13”, 2016. Silk thread, fishing weights and nails, 19 x 13cm. Photo credit: Ding Musa.
- Alexander Canonico, “Paisagem (landscape)”, 2016. Melamine board, surcingle, leather bolts and screws, 90 x 80cm Photo credit: Everton Ballardin.
- Alexander Canonico, “Linha (line)”, 2016. Steel bars, polystyrene floats and heat shrink sleeves, dimensions variable. Photo credit:Everton Ballardin
- Alexander Canonico, “Shadow (Sombra)”, 2015. Enamelled steel, PVA, sand, rubber and snooker ball, 7 x 30 x 30cm. Photo credit:Everton Ballardin
- Alexander Canonico, “Heat (Calor)”, 2015. Polyurethane dowel and heat shrink sleeve, 30 x 15 x 10cm. Photo credit: Everton Ballardin.
- Alexander Canonico, “Jóia”, 2016. Engraved white hardboard, 50 x 50cm. Photo credit: Everton Ballardin.
- Alexander Canonico, “Untitled”, 2015. Acrylic box, paper and varnish, 50 x 50 cm. Photo credit: Edouard Fraipont.
- Alexander Canonico, “Untitled”, 2015. Acrylic, rubber, wall plugs, fine surface filler, 60 x 43 cm. Photo credit: Edouard Fraipont.
- Alexander Canonico, “Untitled”, 2015. Glass, wood, formica, fishing line and found washer, 30 x 40 cm. Photo credit: Edouard Fraipont.
- Alexander Canonico, “Untitled”, 2015. Steel wire, thread and fishing weight, 10 x 7 cm. Photo credit: Ana Beatriz Elorza.
- Alexander Canonico, “Untitled”, 2015. Green mineral felt, snooker ball and silicone. 150 x 230 cm. Photo credit: Ana Beatriz Elorza.
About the Artist
My practice is influenced by the aesthetics and logic of architectural drawing and the legacy of geometric abstraction. However, instead of merely exploring the formal aspects associated to these disciplines, I am interested in investing my work with more playful, unstable or destabilising elements that disrupt the rigorous principles underlying traditional architecture and abstraction.
Over the past 5 years, I have been developing a series of wall-based sculptures/ drawings where three-dimensional elements (depth, shadow and movement) are used as a drawing tool, often incorporating elements from the surrounding space into the composition.
I had my first solo show in August 2015 at Galeria Marilia Razuk in São Paulo. The show was titled “Aonde”, which translates as “To where/ Where to”, implying the movement to or the search for a place. The works had in common a certain flexibility of boundaries and an interest in the space that contains or is contained by each piece.
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Selected Biographical Information
Education / Training
- 1995-1999: Architecture, Faculdade de Belas Artes de São Paulo, São Paulo, Brazil.
Solo Exhibitions
- 2015: “Aonde (To where/ Where to)”, Galeria Marilia Razuk, São Paulo, Brazil.
Group Exhibitions
- 2016: “Projeto Piaui”, Jacarandá, Rio de Janeiro, Brazil.
- 2016: “In Between”, Bergamin & Gomide, São Paulo, Brazil.
- 2016: “Projeto Piauí”, Pivô, São Paulo, Brazil.
- 2013: “Brutalidade Jardim”, Galeria Marilia Razuk, Sao Paulo, Brazil.
Publications
- Claire Wrathall, “One To Watch”, Christie’s Magazine, september 2016, 52/ 53.
Collections
- Andrea e José Olympio Pereira, São Paulo, Brazil.