Search
Filters
Close

Erika Verzutti

She was born at São Paulo, Brazil, where she lives and works.

Her work has been featured in solo exhibition in São Paulo, Salvador, Belo Horizonte, Tokyo and London.

In 2012 she showed her artwork at a panoramic exhibition at the Centro Cultural São Paulo.

Among the collective  exhibitions are: Aire de Lyon, Fundación Proa (Buenos Aires, 2012); 11ª Bienal de Lyon (Lyon, 2011);

When Lives Become Form: Creative Power from Brazil, Yerba Buena Center of the Arts, (San Francisco, 2010) / Hiroshima City Museum of Contemporary Art, (Hiroshima, 2009) / Museum of Contemporary Art, Tokyo, (Tokyo, 2008);

De Perto e de Longe - Paralela 08, Liceu de Artes e Ofícios, (São Paulo, 2008);

Desenho Contemporâneo, MCO Arte Contemporânea, (Porto, 2006);

Plastic.o.rama, Museu de Arte Moderna do Rio de Janeiro, (Rio de Janeiro, 2005).

Her artwork is part of the collection of ASu Art museum, Tempe, EUA; Museu de Arte Moderna de São Paulo, Brazil; among other.

Filter by attributes
  • No of collection's pieces
  • 250

Beijo

For the "Beijo" work, I chose elements of Bordallo Pinheiro’s work that favoured the shape and its contours. The choice of vegetables – pepper, radish and asparagus - was an immediate approach, since I usually work with fruits and vegetables as a starting point. It was a challenge to choose among so many delicately carved shapes; there were also corn, pineapples, pumpkins... Then I went searching for the vases, a shape that I have been electing as essential to my work, as if all the artistic work could be discussed from the first impulses of clay work (or so I want to believe...). In this work, two vases meet and complement each other, their contours almost fitting each other: on one side the gourd vase offers its curves to contrast with its geometric pair - this one created from the spike tiles by Bordallo, remodelled in this case, forming an upright column. One of the "Beijo”’s element of remained useful (there is a surprise asparagus used as a stopper in the radish lid) while the geometric vase was already born sculpted and closed. This contradiction reflects aspects of coexistence between utilitarian objects and art objects.