Como eu fiz para entender o teatro + Abre-se a Floresta

"My key references for both pieces are fairy tales and other types of children’s literature, folklore, popular traditions, childhood (mine and others'), the rural world, the forests and woods I have been to, theater, interpretative processes, the natural world, human nature, closed and uninhabited houses, miniatures, toys. 

I believe that the main aspect to be highlighted in creating my work is perhaps observation; in other words: the time it takes for things to take shape. In some cases, it can take a very long time. In other occasions, it can happen very suddenly. Sometimes, during a conversation or a film, or while observing the uncontrollable day-to-day life, I will awake to a piece of work, almost as if it already existed in me. Other times, the work matures gradually and often takes on new contours in its plastic configuration.

These works are in complete consonance with my language and the various aspects contained in my visual vocabulary, like the relationship with the universe of children, the viewer's perspective to the condition of a child, narrative structures and the use of handmade procedures in manufacturing the different elements that compose the works. It’s all there.

I am very curious. By that, I mean I am interested in ‘everything’: from the commonplace in daily life to encyclopedic worlds and the recent forms of transformation of knowledge, the resizing of narratives, the gazes, the realization of possibilities hidden in dialogues.

I try to broaden my capacity to absorb the world to the maximum, and then to rework it based on a personal – and therefore affective – urgency that leads me towards new challenges in creating my work."
 

Nazareno Rodrigues in a statement to PLATFORM:VB (October 2013)