All images © Felipe de Ávila Franco. The use of any image from this site is prohibited unless prior written permission from the artist is obtained.
All images © Felipe de Ávila Franco. The use of any image from this site is prohibited unless prior written permission from the artist is obtained.
Supported by:
Supported by:
Installation, 2010 Asphalt collected pieces Variable dimensions
Sculpture, 2010 Bricks, mirrors, iron tap, water, and electro-mechanics 60x50x40cm
Sculpture, 2010 Wood, aluminum, brass, galvanized and bricks 180x180x50cm
Sculpture, 2010 Chemically aged steel sheet 65x80cm
Installation, 2010 Bricks, crushed bricks, wood frame and glass 120x180cm
Installation, 2010 Asphalt collected pieces Variable dimensions
Sculpture, 2010 Bricks, mirrors, iron tap, water, and electro-mechanics 60x50x40cm
Sculpture, 2010 Wood, aluminum, brass, galvanized and bricks 180x180x50cm
Sculpture, 2010 Chemically aged steel sheet 65x80cm
Installation, 2010 Bricks, crushed bricks, wood frame and glass 120x180cm
Provoked Archaeologies #2
Installation, 2019
Excavated soil in the Amazonia rainforest, branches, and sisal rope
Variable Measures
Installation, 2021 Porcelain, terracota, contaminated residue from mining sites and PVC Dimensions variable
Installation, 2021 Porcelain, terracota, contaminated residue from mining sites and PVC Dimensions variable
Installation, 2021 Porcelain, terracota, contaminated residue from mining sites and PVC Dimensions variable
Installation, 2021 Porcelain, terracota, contaminated residue from mining sites and PVC Dimensions variable
Installation, 2021 Porcelain, terracota, contaminated residue from mining sites and PVC Dimensions variable
Displacements, 2021
The work consists of four see-through travel suitcases with heart-shaped elements resting inside. The hearts are made of terracotta and porcelain combined with contaminated soil material collected from different sites of Finland and Brazil where mining industry activities has been reported as responsible for environmental contamination. The work addresses a difficult aspect of the current social-environmental crisis: how the contamination of land can affect human society in many aspects. The work conceptually invites to reflections on how the geographically distant dystopias deeply affect our immediate reality in both material and immaterial levels, regardless of where we are.
Displacements
Installation, 2021
Porcelain, terracota, contaminated residue from mining site and PVC
Dimensions variable