Piscina

"Consistent with my body of work, Piscina functions as a sort of fictional trigger, a three-dimensional image that opens up projective instances, and yet recovers its material reality within each moment, therefore causing one’s reading of the situation to oscillate, activating the experience. 

Such oscillation is an indicative of the impossibility of that which presents itself as a work of art to act affirmatively. At the core of each proposal, the instability of its own condition is constantly at stake.

I dare say this is one of the main ways in which the artwork establishes relationships with the world: always seeming somewhat uncomfortable, slightly disconnected from what they seem to convey. It is this 'critical tension' that ultimately puts contexts, situations, and the art piece itself into perspective. 

Piscina (Swimming Pool), for instance, was designed to occupy a new warehouse at a Curitiba gallery called Ybakatú. This new warehouse was all white, with zenithal lighting, two bathrooms and a large glass window on the façade through which one could see the whole interior. Therein, Piscina would dominate the space, seeming to be the reason why the gallery was built. Thus, the intention of neutrality of the “white cube” type of space aligned itself with the fiction suggested by the Piscina, supporting it while revealing itself. 

Similar to what occurs there, the recurrent use of schematic or generic images of things of the world is a tool for building this uncertain state in my work. The application or combination of various elements from this repertoire into unstable systems, at odds with the apparently objective content, confounds their reading. The logic that ties carpet and pool together – both are seen as plain levels on the ground – appears to justify the object, although it does not ensure its material condition. The artwork always gives the audience a denial."

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João Loureiro in a statement to PLATFORM:VB (October 2013)