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
Provoked Archaeologies #1
Performance, 2017
Provoked Archaeologies #1, 2017
This is an excerpt from the video documented performance made for the opening of the show Archaeology of the Anthropocene (January 2017, Helsinki - FI). The performance consisted of pouring petroleum to complete the sculpture 'All Well' and graffiti stamping the words 'Post Truth' with black spray paint over satin sheets for the piece 'White Flags'. That action concluded the installation of the work Provoked Archaeologies #1, connecting both works in an attempt of materializing the intrinsic connection between ideology, discourse and and environmental exploitation.
All Well, 2017
As technological innovation, the well allowed the development of human society as we know it today. This work discusses the ambiguities existent in the technologies used to access the resources that became the pillars of modern industrial society. A ‘contaminated’ well, containing oil instead of pure water, creates a tension between structure and function at the same time it questions the traditional notions of 'exploitation' and the authentic use of natural resources.
All Well
Sculpture, 2017
Bricks, steel, and petroleum
125 x 125 x 100cm
White Flags, 2017
A white flag symbolizes peace, being an internationally recognized sign for ceasefire, surrender, or negotiation request. The projected image of a dark flame over the white flag suggests that the requests were denied and peace is threatened, which requires new solutions for conflicts.
The other two flags that compose the work were graffitied with words POST and TRUTH in capital letters with black spray paint. Post-truth is an adjective defined as relating to or denoting circumstances in which 'objective facts are less influential in shaping public opinion than its appeal to emotion and personal belief'. The term defined as the word of the year in 2016 by Oxford Dictionaries, once fuelled by the rise of social media 'fake news' and a growing distrust of facts offered up by the establishment.
White Flags
Installation, 2017
White satin, aluminum, spray paint
and video projection
Measures variable
All Well
Sculpture, 2017
Bricks, steel, and petroleum
125 x 125 x 100cm
(performance documentation)