Brazilian artist Henrique Oliveira is known for his works that use organic forms for sculptural pieces and installations.
He brings his signature style to the Palais de Tokyo in his piece “Baitogogo,” which transforms an exhibition space into a convoluted jumble of tree limbs sprouting from within the room.
Brazilian artist Henrique Oliveira (previously) recently completed work on his largest installation to date titled Transarquitetônica at Museu de Arte Contemporânea da Universidade in São Paulo. As with much of his earlier sculptural and installation work the enormous piece is built from tapumes, a kind of temporary siding made from inexpensive wood that is commonly used to obscure construction sites. Oliveira uses the repurposed wood pieces as a skin nailed to an organic framework that looks intentionally like a large root system. Because the space provided by the museum was so immense, the artist expanded the installation into a fully immersive environment where viewers are welcome to enter the artwork and explore the cavernous interior. Transarquitetônica will be on view through the end of November this year, and you can watch the video above by Crane TV to hear Oliveira discuss its creation.
Trees Burst Through Gallery Walls and Ceilings
Brazilian artist Henrique Oliveira’s powerful recycled wood art installations snake through their exhibition spaces like massive living trees that burst out of walls and through ceilings. Oliveira scours the streets of Sao Paulo to gather plywood, which he then separates into layers and combines to create his massive “tridimensionals” sculptures. The stunning mixed media pieces are a combination of sculpture, painting and architecture.
Going Back to the Roots with Henrique Oliveira’s Transarquitetônica
Brazilian artist Henrique Oliveira invites spectators to step inside his latest artwork and explore a giant wooden maze at São Paulo Museum MAC. His largest installation to date, Transarquitetônica is a 70 meter (229.66 ft) interactive sculpture made of tapumes, a plywood material traditionally used for cheap housing in Brazil. As the piece’s name suggests, Oliveira’s work speaks to the concept of time and evolution. Spectators discover spaces of contrast, as certain areas reference today’s modern architecture while sprawling branches symbolize man’s first dwelling.