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
Sculpture, 2014 Casted iron 60x20x10cm
Sculpture, 2014 Casted iron 60x20x10cm
Ophiuchus
Sculpture, 2014
Casted iron
60x20x10cm
Ophiuchus has sometimes been used in sidereal astrology as the thirteenth sign in addition to the twelve signs of the tropical Zodiac, because of the eponymous constellation Ophiuchus, meaning from the Greek "Serpent-bearer".
Ophiuchus in the past was removed for the convenience of having a 12-sign-system of equal 30-degree spans and is associated with healing, enlightenment, medicine, and higher education. The current re-emergence of the Serpent Bearer, the ancient Snake Goddess from a time before history, is the return of The Great Goddess, the awakening of feminine consciousness.