Sérvulo Esmeraldo (Crato CE 1929 - Fortaleza CE 2017)
Sérvulo Esmeraldo was a sculptor, printmaker, illustrator and painter who, throughout his career, devoted himself to a range of techniques and artistic movements, always in search of new forms of expression. At the start of his career, he concentrated on woodcut. From 1947, in Fortaleza, he joined the Sociedade Cearense de Artes Plásticas (SCAP), where he was in contact with artists such as Inimá de Paula, Antonio Bandeira and Aldemir Martins. During this period, he also took painting lessons with Jean-Pierre Chabloz. In 1951, he worked on the installation of the 1st Bienal Internacional de São Paulo, which marked the beginning of his more intense activity on the national art scene. After the Bienal, he moved to São Paulo, where he worked as a printmaker and illustrator for the Correio Paulistano and came into contact with important names such as Marcelo Grassmann and Lívio Abramo.
In 1956, he founded the Museu de Gravura [Printmaking Museum] in the city of Crato, Ceará, and the following year he held a solo exhibition at the Museu de Arte Moderna de São Paulo (MAM/SP). With a French government scholarship, he traveled to Europe in 1957, where he studied lithography at the École Nationale Supérieure des Beaux-Arts, in Paris. During his stay, he had access to the rare holdings of the Bibliothèque Nationale de France, which allowed him to study Albrecht Dürer's prints in depth. Under the guidance of Johnny Friedlaender, Esmeraldo began working in intaglio, and his works were published by European publishers. From the 1960s onward, he joined the kinetic art movement, creating works such as the Excitáveis [Excitables] – pictures and objects set in motion by static electricity.
Returning to Brazil in 1978, he settled again in Fortaleza, where he devoted himself increasingly to public art. He conceived the Exposição Internacional de Esculturas Efêmeras [International Exhibition of Ephemeral Sculptures] in the capital of Ceará, which he curated in 1986 and 1991. His career is marked by a tireless pursuit of innovation and by the integration of art with new technologies, and he remained one of the great names of Brazilian art throughout his life.
Critical Commentary
In the 1950s, Sérvulo Esmeraldo produced figurative works and, according to the art critic Frederico Morais, he "depicts leaves and fish in a highly simplified and synthetic way (...) What interests him is form, not subject".1 In this way, Esmeraldo gradually moved toward abstraction, making his first decidedly abstract prints in 1957, which are closely related to the production of Lívio Abramo (1903 - 1992).
That same year, he moved to Paris, where he attended intaglio classes with Johnny Friedlaender (1912 - 1992). At first he made abstract, lyrical, almost informal works. His prints, like Friedlaender's, are full of graphic marks. Gradually, he became interested in constructive production and began to work with more regular forms. He followed the work of artists linked to kinetic art, such as Julio Le Parc (1928) and Jesús Rafael Soto (1923 - 2005). In the 1960s, he stopped devoting himself exclusively to printmaking and began experimenting with other languages. In 1962, he produced his first kinetic works, made with magnets. Two years later, he created the Excitáveis, kinetic objects made of acrylic that react to the viewer's touch and change color. In the same period, he made his first sculptures.
On returning to Fortaleza, in 1978, he worked with lacquered steel sheets, producing sculptures with folded, painted planes. In 1981, he made a series of white pieces in which he inscribed cut-out geometric forms. Although he worked with flat objects, his work suggests volume.
In 1986, he conceived and organized the 1st Exposição de Escultura Efêmera de Fortaleza [Fortaleza Ephemeral Sculpture Exhibition]. Around the same time, he created subtle reliefs; the third dimension is suggested by the interplay of the faces, although the work is almost flat. Esmeraldo recounts that, in the late 1980s, he realized that the volume of his sculptures often "serves as a support to bring out the lines".2 In the 1990s, among other works, he made reliefs in which he incised rigorous lines into two-dimensional steel surfaces. In 2001, he radicalized this principle, working with regular steel lines with which he draws three-dimensional geometric forms in space.
Notes
1 MORAIS, Frederico. In: ESMERALDO, Sérvulo. Sérvulo Esmeraldo - Gravuras. Salvador: Oficinas do Centro de Artes plásticas Solar do Unhão, 1989. (folded sheet).
2 AMARAL, Aracy. Personalidade de Sérvulo Esmeraldo. In: ESMERALDO, Sérvulo. A linha como fator determinante. São Paulo: Múltipla de Arte, 2001.
Critiques
"Sérvulo Esmeraldo's sculptures stealthily draw the eye into a confrontation between the objectivity of the work's visible aspect and an essentially subjective, enigmatic balance. The modern unconscious takes charge of the cultural investments intended for their apprehension and experience. Despite their almost mathematical precision, sensation and reverie do not escape; they are present, condensed in the singularity of solids inspired by a (problematic) ideal of perfection and of the appropriation of luminosity. They appear to the eye loose, emancipated, but they were invented as part of a system, of a history. One must walk around them to perceive their specific subtleties. The artist works from a few formal variations, but is intimately engaged with the making of art - not only the materials and technique used but also the facts of history. Light and space are articulated as the result of a working experience; each sculpture is a sum of volume and light. A stylized, dense silence, resistant to words and definitions. Behind this almost imperturbable balance lies a process of knowledge obsessed with inventing, with the simplest solids of geometry, art objects/monuments that, besides coexisting harmoniously with light and shadow, heighten the passion for a kind of 'classical beauty', free of disquiet, a pure, distilled beauty, close to the ecstasy of perfection. Moments of humor".
Almandrade
Almandrade. A fantasia estilizada dos sólidos. Esmeraldo, Sérvulo. Sérvulo Esmeraldo. n.p.
"(...) in the early 1980s we see linearity reign with unique lightness in his almost two-dimensional compositions, like magnified models, folded plates, twisted planes, the steel surface bent and painted white, or at times dispensing with a base, pure form resting on the floor, free space, always the angle giving the piece its character through the cast shadow (...) without concessions, yet dry, rigor of conception and execution, while absorbing the extravagant ambient light of Fortaleza on the surfaces of his planes, and obtaining on them the nuances of the most luminous grays (...). In the play with light, or aware of its weight in the tropical climate (...), Sérvulo, a disciplined experimenter, discards white and chooses an intense graphite tone for the faceted surfaces of the oblique prisms in his serial approach to 'solids', hexahedrons playing with the ambient light (...). The cubes, or coupled triangles, or the asymmetry of the parallelogram emerge, at the same time suggesting a view of perspective that is also illusory, in the forms he encloses in this phase of 'solid bodies', space bounded by surfaces".
Aracy Amaral
Texto Aracy Amaral. Sérvulo Esmeraldo. São Paulo: Skultura Galeria de Arte, 1986.
"Sérvulo Esmeraldo structures his woodcuts with geometric forms: they are signs arranged on the support, which is also geometric and therefore inseparable from the composition. The paper support is thus conceived as an element, since in his concepts no distinction is made between the white of the paper and the printed black. That is why Sérvulo states that in his woodcut there is no passage from the figurative to the non-figurative, only a change in values. In the history of Sérvulo Esmeraldo's thinking, it is therefore worth stressing that he envisions abstract form in the light areas of his figurative prints; he then comes to value not the light areas but the forms which, abstract, build the print.
After studying in Paris with Friedlaender, Sérvulo composes prints with geometric figures which, cut, duplicated, deformed or even mirrored, fulfill his wish to join white and black".
Leon Kossovitch e Mayra Laudanna
KOSSOVITCH, Leon; LAUDANNA, Mayra. Concretos. In: GRAVURA: arte brasileira do século XX. São Paulo: Itaú Cultural: Cosac & Naify, 2000. p. 20-21.
Testimonials
"My references in the visual arts were paintings, or mediocre reproductions of paintings. And they were always figurative. [...] At the Public Library of Crato, Ceará, there was little on the visual arts. There was a History of Art by Van Loon, another publication on American art (which stopped in the 1920s), and another on sculpture in Italian cemeteries. Van Loon made interesting observations [...]. He also pointed out that beyond looking there is perceiving, directing. It was a good book, but its iconographic documentation was limited [...]. I wanted to learn. I knew that making went through learning to make. It seems so obvious. Things, however, transcend knowledge - the concept is something vague, a "feather in the wind". You have developed your thinking and concept, which can be lived and enriched. But it is not doctrine. Everything can be challenged. Openness is the key. Fitness lies between science and conscience. I could never be a Surrealist. A figurative artist, yes, because that does not condition or go beyond forms and their solutions on the support. It was only many years later that I had access, through books, to the drawings of Picasso, Matisse, Dufy, in many of which line prevails; impeccable, dry, dynamic writing, showing no effort in the making, as if it had been there since the beginning of time, like the moon, the sun, which surprise us at every moment. [...] Woodcut was very important. Rather than complicating, it simplified. Drawing shows the importance of observation. From then on I began to build my 'archive'. [...]
Woodcut is the simplest printmaking medium. A simplicity that demands great discipline and economy. The pure white of the paper and the equally pure black of the block compete for the support. The white may tend to become a hole. The masters Munakata and Goeldi understood the problem and got around it. That is perhaps the hardest thing to control. What is on the plane stays on the plane and goes no further. [...] The incision in the wood may result in a beautiful object, a relief; the result, that is, the final product - the print - may not achieve its aim. Until one understands that the block has a function in which the component, the paper support, has the final word, a lot of water flows under the bridge. The white that should be a light area may appear as a hole, or like snow on tropical roofs. In any case, printmaking is always surprising. You write and read in reverse. Woodcut hardly allows corrections. That is why I consider it a great lesson for me. I am still an apprentice woodcutter. Woodcut is concentrated thought. My first woodcuts were figurative, like my drawings. The light areas cut into the wood resulted in abstract forms. Suddenly, the 'unrepresented' became the main thing, the valued thing. I mean the juxtaposed forms that generate forms. In a work there is nothing secondary. The main thing is the whole. I ended up choosing what I saw as incidental. Forms are born from forms, to paraphrase Bruno Munari. [...]
[I] never moved to the abstract. My writing has always been concrete. The path began with plants, leaves, branches. From them I drew my geometry. Only much later did I discover that the snails and leaves I engraved were polished equations. Just imagine, I saw that the snail was a logarithm! Knowledge is learned. Understanding is a result. One can learn and not understand. There is a universe between the primary and the primitive. Did the painters of Altamira or Sete Cidades learn? They invented and certainly understood, and passed it on to us. They saw the bison in a bulge of rock and brought it out with lines. Who did they learn from? We are between looking and seeing".
Sérvulo Esmeraldo a Dodora Guimarães (julho de 2000)
SÉRVULO Esmeraldo. In: GRAVURA: arte brasileira do século XX. São Paulo: Itaú Cultural: Cosac & Naify, 2000. p. 132.
Solo Exhibitions
1951 - Crato CE - Solo, at Sociedade de Cultura Artística
1956 - São Paulo SP - Solo, at Clube dos Artistas Modernos
1957 - Fortaleza CE - Solo, at UFCE
1957 - São Paulo SP - Solo, at MAM/SP
1960 - Recife PE - Solo, at Galeria Lemac
1961 - Lausanne (Switzerland) - Solo, at Galerie Maurice Bridel
1961 - Paris (France) - Solo, at Galerie La Hune
1961 - Salvador BA - Solo, at MAM/BA
1962 - Fortaleza CE - Solo, at MAUC
1962 - Recife PE - Solo, at Galeria de Arte do Recife
1962 - Rio de Janeiro RJ - Solo, at Galeria Relevo
1962 - Salvador BA - Solo, at MAM/BA
1963 - Lausanne (Switzerland) - Solo, at Galeria Maurice Bridel
1964 - Venice (Italy) - Solo, at Galleria Il Canale
1966 - Lisbon (Portugal) - Solo, at Galeria Gravura
1966 - Milan (Italy) - Solo, at Instituto Brasil-Itália
1966 - Paris (France) - Solo, at Galerie Nouvelle Gravure
1967 - Belo Horizonte MG - Solo, at Galeria Itatiaia
1967 - Fortaleza CE - Solo, at MAUC
1968 - Lausanne (Switzerland) - Solo, at Galeria Maurice Bridel
1969 - São Paulo SP - Solo, at Galeria Cosme Velho
1971 - Cannet-Plage (France) - Solo, at Galerie La Pierre de Lune
1971 - Lausanne (Switzerland) - Solo, at White Gallery
1971 - Lyon (France) - Solo, at Galerie 32
1971 - Paris (France) - Solo, at Galerie La Pochade
1971 - Le Cannet (France) - Solo, at Galerie La Pierre de Lune
1973 - Fortaleza CE - Solo, at Galeria Ignez Fiuza
1974 - Collioure (France) - Sérvulo Esmeraldo: Prints 1953 to 1973, at Galerie Sanguine Art
1975 - Brasília DF - Solo, at Hotel Nacional
1975 - Fortaleza CE - Solo, at Galeria Ignez Fiuza
1975 - Lausanne (Switzerland) - Solo, at White Gallery
1975 - Lyon (France) - Solo, at Galerie 32
1975 - Luxembourg (Luxembourg) - Solo, at Galerie Paul Bruck
1975 - São Paulo SP - Solo, at Gabinete de Artes Gráficas
1976 - Belo Horizonte MG - Solo, at Fundação Palácio das Artes
1976 - Rio de Janeiro RJ - Solo, at Petite Galerie
1976 - São Paulo SP - Solo, at Gabinete de Artes Gráficas
1977 - Belo Horizonte MG - Solo, at Galeria Memória
1977 - Crato CE - Solo, at Sociedade de Cultura Artística
1977 - Recife PE - Solo, at Gatsby Arte
1979 - Bogotá (Colombia) - Solo, at Centro Venezoelano de Cultura
1979 - São Luís MA - Solo, at Hotel Quatro Rodas
1980 - Fortaleza CE - Sérvulo Esmeraldo: Sculpture, at Galeria Ignez Fiuza
1981 - Rio de Janeiro RJ - Sérvulo Esmeraldo: Sculptures, at Galeria Aktuell
1982 - São Paulo SP - Solo, at Skultura Galeria de Arte
1984 - São Paulo SP - Solo, at Paulo Figueiredo Galeria de Arte
1985 - Fortaleza CE - Sérvulo Esmeraldo: Trajectory 1947-1985, at Arte Galeria
1986 - Fortaleza CE - Solo, at Arte Galeria
1986 - São Paulo SP - Sérvulo Esmeraldo: Sculptures, at Skultura Galeria de Arte
1988 - Brasília DF - Solo, at Itaugaleria
1988 - Rio de Janeiro RJ - Sérvulo Esmeraldo: Prints - Trajectory, at MNBA
1988 - São Paulo SP - Solo, at Gabinete de Arte Raquel Arnaud
1989 - Rio de Janeiro RJ - Sérvulo Esmeraldo: Sculpture and Reliefs, at Tríade Galeria
1989 - Salvador BA - Sérvulo Esmeraldo: Prints, at Solar do Unhão
1989 - São Paulo SP - Solo, at Paulo Figueiredo Galeria de Arte
1999 - Fortaleza CE - Solo, at Centro Cultural da Abolição
2001 - São Paulo SP - The Line as a Determining Factor, at Galeria Múltipla de Arte
Group Exhibitions
1950 - Fortaleza CE - 6th Salão de Abril [April Salon] - honorable mention
1951 - Fortaleza CE - 7th Salão de Abril [April Salon] - honorable mention
1956 - São Paulo SP - 5th São Paulo Salon of Modern Art, at Galeria Prestes Maia - acquisition prize
1957 - Kraków (Poland) - 5th Kraków International Exhibition
1957 - Fortaleza CE - National Visual Arts Salon - 1st prize
1957 - São Paulo SP - 6th São Paulo Salon of Modern Art, at Galeria Prestes Maia - acquisition prize and bronze medal
1959 - Paris (France) - Salon Le Trait, at Sala Balzac
1959 - São Paulo SP - 5th Bienal Internacional de São Paulo, at Pavilhão Ciccillo Matarazzo Sobrinho
1960 - Paris (France) - Jeune Gravure Contemporaine
1961 - Paris (France) - Salão de Maio
1961 - São Paulo SP - 6th Bienal Internacional de São Paulo, at Pavilhão Ciccillo Matarazzo Sobrinho
1962 - Amsterdam (Netherlands) - Arte de América y España
1962 - Barcelona (Spain) - Arte de América y España
1962 - Bern (Switzerland) - Arte de América y España
1962 - Brussels (Belgium) - Arte de América y España
1962 - Madrid (Spain) - Arte de América y España
1962 - Milan (Italy) - Arte de América y España
1962 - Munich (Germany) - Arte de América y España
1962 - Paris (France) - Arte de América y España
1962 - Paris (France) - Brazilian Printmakers, at Galeria Valérie Schmidt
1962 - Paris (France) - Salon Le Trait, at Musée d'Art Moderne de la Ville de Paris
1962 - São Paulo SP - Selection of Brazilian Artworks from the Ernesto Wolf Collection, at MAM/SP
1963 - São Paulo SP - 7th Bienal Internacional de São Paulo, at Fundação Bienal
1965 - Kraków (Poland) - 5th International Printmaking Exhibition
1965 - Paris (France) - Grands et Jeunes d'Aujourd'hui
1966 - Kraków (Poland) - 6th International Printmaking Exhibition
1966 - Florence (Italy) - 2nd Graphic Arts Biennial
1966 - Havana (Cuba) - Havana Exhibition
1966 - Madrid (Spain) - Printmakers of Paris
1966 - Paris (France) - Latin American Artists of Paris
1966 - Viana do Castelo (Portugal) - Viana do Castelo Festival
1967 - Kraków (Poland) - 7th International Printmaking Exhibition
1967 - Milan (Italy) - 14th Milan Triennale
1968 - Menton (France) - Menton Biennial
1968 - Nottingham (England) - Six Latin American Countries, at Midland Art Group Gallery
1969 - Menton (France) - 20th-Century Graphic Art
1969 - Oregon (United States) - Contemporary Printmakers, at the University of Oregon
1970 - Kraków (Poland) - International Printmaking Exhibition
1970 - Florence (Italy) - 2nd Biennale Internazionale della Grafica d'Arte
1970 - Paris (France) - Salon des Réalités Nouvelles
1970 - Spoleto (Italy) - 5th Festival dei Due Mondi
1970 - Zurich (Switzerland) - La Peu du Lion, at Kunsthaus Zürich
1971 - Geneva (Switzerland) - The Printmaking of the Americas
1971 - São Paulo SP - 3rd Panorama of Current Brazilian Art, at MAM/SP
1972 - Montbéliard (France) - The Art of Multiplication
1972 - Paris (France) - 2000 Years of French Goldsmithing: From Gallo-Roman to Pop Art
1972 - Paris (France) - Creations and Techniques, at Galerie Christofle
1972 - São Paulo SP - 6th Young Contemporary Art, at MAC/USP
1972 - St. Etienne (France) - René Bertholo, Lourdes Castro, Esmeraldo, Guidot, at Museu de St. Etienne
1972 - Venice (Italy) - 2000 Years of French Goldsmithing: From Gallo-Roman to Pop Art
1973 - Paris (France) - Semaine Latino-Américaine de Paris, at Galerie Cefral
1974 - Paris (France) - The Idea and Matter, at Galerie Denise René
1974 - Paris (France) - Salon Comparaisons
1974 - San Juan (Puerto Rico) - Bienal de San Juan del Grabado Latinoamericano y del Caribe
1974 - San Juan (Puerto Rico) - 3rd Bienal de San Juan del Grabado Latinoamericano y del Caribe, at Instituto de Cultura Puertorriqueña
1974 - São Paulo SP - Panorama of Current Brazilian Art, at MAM/SP
1974 - São Paulo SP - Prospectiva '74, at MAC/USP
1975 - Palazzolo (Italy) - De Alexandris, Morandini, Esmeraldo and Sircana, at Galeria F22
1978 - São Paulo SP - 10th Panorama of Current Brazilian Art, at MAM/SP
1979 - Paris (France) - Marius Rey Collection, at CNAC
1979 - Rio de Janeiro RJ - Brazilian Sculptors, at Galeria Aktuell
1981 - Havana (Cuba) - Arte de Nuestra América, at Galeria Latino-Americana
1981 - São Paulo SP - 13th Panorama of Current Brazilian Art, at MAM/SP
1982 - Penápolis SP - 5th Noroeste Visual Arts Salon, at Fundação Educacional de Penápolis. Faculdade de Filosofia, Ciências e Letras de Penápolis
1982 - São Paulo SP - A Century of Sculpture in Brazil, at Masp
1983 - Olinda PE - 2nd Exhibition of the Abelardo Rodrigues Visual Arts Collection, at MAC/Olinda
1983 - Rio de Janeiro RJ - Art on the Street 2
1984 - Belém PA - 3rd Salão Arte Pará - 1st prize
1984 - Buenos Aires (Argentina) - Masters of Brazilian Abstractionism
1984 - Curitiba PR - 6th Curitiba City Printmaking Show, at Fundação Cultural de Curitiba
1984 - Havana (Cuba) - 1st Havana Biennial, at Museo Nacional de Bellas Artes
1984 - Lisbon (Portugal) - Masters of Brazilian Abstractionism
1984 - London (England) - Masters of Brazilian Abstractionism
1984 - Paris (France) - Masters of Brazilian Abstractionism
1984 - Rio de Janeiro RJ - The Roles of Paper, at Funarte. Centro de Artes
1984 - Rome (Italy) - Masters of Brazilian Abstractionism
1984 - São Paulo SP - Geometry 84, at Paulo Figueiredo Galeria de Arte
1984 - Washington (United States) - Masters of Brazilian Abstractionism
1985 - Belo Horizonte MG - Geometry Today, at MAP
1985 - Fortaleza CE - Aldemir Martins, Floriano Teixeira, Pietrina Checcacci, Sérgio Lima and Sérvulo Esmeraldo, at Galeria Ignez Fiuza
1985 - Penápolis SP - 6th Noroeste Visual Arts Salon, at Fundação das Artes de Penápolis
1985 - São Paulo SP - 16th Panorama of Current Brazilian Art, at MAM/SP
1985 - São Paulo SP - Highlights of Brazilian Contemporary Art, at MAM/SP
1985 - São Paulo SP - Tendencies of the Artist's Book in Brazil, at CCSP
1986 - Fortaleza CE - 1st International Exhibition of Ephemeral Sculptures, at Fundação Demócrito Rocha
1986 - Fortaleza CE - Esmeraldo/Krajcberg, at Arte Galeria
1986 - Fortaleza CE - Imagine: The Planet Greets the Comet, at Arte Galeria
1986 - Havana (Cuba) - 2nd Havana Biennial
1986 - Recife PE - 1st Exhibition of Pernambuco Sculpture and Object, at Galeria Metropolitana
1987 - Rio de Janeiro RJ - Brazilian Printmaking: Toward Abstractionism, at MNBA
1987 - São Paulo SP - 19th Bienal Internacional de São Paulo, at Fundação Bienal
1988 - Campinas SP - 13th Campinas Contemporary Art Salon, at MACC
1988 - Porlamar (Venezuela) - Porlamar Biennial: Ephemeral Sculptures
1988 - São Paulo SP - 19th Panorama of Current Brazilian Art, at MAM/SP
1988 - São Paulo SP - MAC 25 Years: Recent Acquisitions and Donations, at MAC/USP
1989 - Belo Horizonte MG - 21st UFMG Winter Festival
1989 - Fortaleza CE - 10th Unifor Plástica
1989 - Fortaleza CE - Salão de Abril [April Salon]
1989 - São Paulo SP - 10 Sculptors, at Gabinete de Arte Raquel Arnaud
1990 - Curitiba PR - 9th Guest Artists: Lithographs, at Casa Romário Martins
1990 - Fortaleza CE - 41st Salão de Abril [April Salon], at Centro de Artes Visuais Raimundo Cela - Palácio da Abolição
1991 - Fortaleza CE - 42nd Salão de Abril [April Salon] - sculpture prize
1991 - Fortaleza CE - Scap: 50 Years, at Imperial Othon Palace Hotel. Salão Juazeiro
1991 - São Paulo SP - The Forest, at MAC/USP
1991 - São Paulo SP - Man and Nature, at MAC/USP
1991 - São Paulo SP - Project: 100 Years of Paulista, at Casa das Rosas
1992 - Belém PA - 11th Salão Arte Pará, at Fundação Rômulo Maiorana
1992 - Brasília DF - 43rd Salão de Abril [April Salon], at ECT Galeria de Arte
1992 - Curitiba PR - 10th Curitiba City Printmaking Exhibition/America Exhibition, at Museu da Gravura
1992 - Fortaleza CE - 43rd Salão de Abril [April Salon], at Museu de Arte da UFC
1992 - Recife PE - 43rd Salão de Abril [April Salon], at Galeria Metropolitana de Arte
1992 - São Paulo SP - 43rd Salão de Abril [April Salon], at Casa das Rosas
1992 - São Paulo SP - The Seduction of Volumes: The Three-Dimensional Works of the MAC, at MAC/USP
1993 - João Pessoa PB - Woodcut: From Cordel to the Gallery, at Funesc
1993 - São Paulo SP - Works for Illustrating the Literary Supplement: 1956-1967, at MAM/SP
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - Woodcut: From Cordel to the Gallery, at Metrô
1995 - Fortaleza CE - D'Après Dürer: Printmakers from Ceará, at Centro Cultural da Abolição
1996 - Brasília DF - Art and Urban Space: Fifteen Proposals, at Ministério das Relações Exteriores. Palácio do Itamaraty
1996 - Porto Alegre RS - 1st Sesc Sculpture: International Open-Air Sculpture Exhibition, at Sesc Campestre
1996 - Rio de Janeiro RJ - Constructive Tendencies in the MAC/USP Collection: Construction, Measure and Proportion, at CCBB
1996 - São Paulo SP - Ex Libris/Home Page, at Paço das Artes
1997 - Rio de Janeiro RJ - AR: Exhibition of Visual Arts, Toys, Objects and Models, at Paço Imperial
1997 - São Paulo SP - Diversity of Brazilian Contemporary Sculpture, on Av. Paulista - organized by the Ministério da Cultura/Itaú Cultural
1997 - São Paulo SP - Three-Dimensionality in 20th-Century Brazilian Art, at Itaú Cultural
1998 - Belo Horizonte MG - Three-Dimensionality in 20th-Century Brazilian Art, at Itaú Cultural
1998 - Brasília DF - Three-Dimensionality in 20th-Century Brazilian Art, at Galeria Itaú Cultural
1998 - Penápolis SP - Three-Dimensionality in 20th-Century Brazilian Art, at Galeria Itaú Cultural
1998 - Rio de Janeiro RJ - 16th National Visual Arts Salon, at MAM/RJ
1998 - São Paulo SP - Skultura Collection 98, at Skultura Galeria de Arte
1999 - Fortaleza CE - 50th Salão de Abril [April Salon], at Centro Cultural da Abolição
1999 - Paris (France) - Viva Brasil, at Galerie 1900 - 2000
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Guita and José Mindlin Collection, at Espaço Cultural dos Correios
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Brazilian Modern Printmaking: Collection of the Museu Nacional de Belas Artes, at MNBA
1999 - São Paulo SP - Everyday/Art. Technique, at Itaú Cultural
2000 - São Paulo SP - Conceptual Art and Conceptualisms: The 1970s in the MAC/USP Collection, at Galeria de Arte do Sesi
2000 - São Paulo SP - Brasil + 500 Years: Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - Brazilian Sculpture: From the Pinacoteca to the Jardim da Luz, at Pinacoteca do Estado
2000 - São Paulo SP - Investigations. Brazilian Printmaking, at Itaú Cultural
2001 - Brasília DF - Investigations. Brazilian Printmaking, at Galeria Itaú Cultural
2001 - Penápolis SP - Investigations. Brazilian Printmaking, at Galeria Itaú Cultural
2002 - Fortaleza CE - Ceará Rediscovers Brazil, at Centro Dragão do Mar de Arte e Cultura
2002 - São Paulo SP - Who Makes the Biennials, at Galeria Múltipla de Arte
2003 - Rio de Janeiro RJ - Projeto Brazilianart, at Almacén Galeria de Arte
2004 - São Paulo SP - Gesture and Expression: Informal Abstractionism in the JP Morgan Chase and MAM Collections, at MAM/SP
Source: Itaú Cultural
