Sorrir e Chorar, Patricia Armocida, 2015

Sorrir e Chorar (smile and cry), presents two sides of the same coin. Smiling doesn’t only represent happiness, crying doesn’t only represent sadness.  Human behavior hides duplicity and various meanings, often incoherent, based on what we want to convey and what we have always believed in. 

Finok places the subjects of his canvases into visually striking contexts, creating patterns with wood, often layering different planes, punctuating the surface. His works expand on elements from Brazilian folk culture, weaving them with his own personal vision. The geometric patterns and textures are reminiscent of Pipas and Baloes, traditional folk handiwork made by overlapping pieces of colored paper.

Pipas are handmade fighter kites whose strings are coated with glue and glass shards in order to cut down opponents’ kites. Behind what seems like an innocent game actually lurks a violent nature which turns into a battle for survival. 

The creative force and desire to go beyond one’s limits through style and dexterousness can also be found in Baloes, paper balloons propelled by fire. This activity, now illegal as it causes feuds and fires, masks a poetic aspect: enormous effort put into something so fleeting, waiting for a balloon to fly for a mere 10 minutes before it disappears into the sky. This tradition has religious origins from colonial times and celebrates saints whose feast days are in June.

A universe of beliefs and devotional customs, present in Brazilian religious syncretism, is expressed through the religious masks and shrines that often recur in Finok’s works. 

Contradictory and coexisting feelings, opposing emotions that merge together in the artist’s paintings, sculptures, and installations, a reflection of a city steeped in contrasts like São Paul