Felipe de Ávila Franco will be present at the gallery on Sunday 16 June from 2–4 pm.

In an era increasingly defined by the relentless march of technological progress, the essence of pristine nature, untouched by human hands, finds itself marginalized on the fringes of our consciousness. As our reality undergoes a gradual metamorphosis under the sway of voracious technological machinery, the organic rhythms of the natural world seem to fade deeper into obscurity. This inexorable expansion of our technological prowess, akin to a colossal extension of our own selves, spans through space, leaving a profound impact that may transcend the lifespans of both human and non-human species.

Nowhere is this reality more palpable than in the Global South, as the ceaseless pursuit of energy and raw materials become evident through exponential expansion of mining activities. Stretching across diverse landscapes, from mountain ranges to expansive oceans, these activities reflect a historical pattern of exploiting mineral resources and damaging ecosystems. Beyond, they foster territorial invasions and undermine democratic processes, often resulting in oppression and the erasure of cultures and populations as part of ongoing colonization processes worldwide.

In the Brazilian deep-sea margin, where offshore oil and gas extraction dominates, human intervention reaches staggering proportions. While the pursuit of hydrocarbon wealth supports a significant part of the nation’s economy, it also poses a serious threat to fragile ecosystems. Despite the immediate danger of oil spills and chemical pollution, offshore drilling jeopardizes marine life, ecosystems, and the coastal economy in many ways, particularly due to the utilization of sonic monitoring technology and seismic airguns. Decades of exploitation have cast a shadow over the biodiversity and ecological equilibrium of these vulnerable marine ecosystems.

Within this intricate tapestry of socio-environmental conflict, Franco’s artworks find their voice and a space to dwell. Through a delicate interplay of form and material, the sculptures and installations in the Studio space of Galleria Sculptor invite viewers to contemplate the intrinsic connections between the development and decay of human society, drawing subtle parallels between the materiality and function of modern technologies, the exploitation of mineral resources, and the degradation of our planet’s ecosystems.

Amid a tableau of 3D-printed ceramic sculptures, the organic textures of clay seamlessly integrate remnants of deep-sea drilling processes into the mechanic-like bodies. These pieces, materialized through 3D automated layering machines, contain traces of residual sand and salt from deep-sea drilling, capturing an essential aspect of the modern human condition, where the existence of organic bodies is intrinsically intertwined with mechanical structures that permeate all levels of society.

In contrast, a large-scale video-projection invites the audience to scrutinize the surfaces of actual drilling apparatus. Artificial shapes with sharp edges underlying notions of repulsion and harm mingle with more organic features that evoke an idea of smoothness and even sensuality. Moving slowly and immersed in the void, these visuals are accompanied by a ominous low-frequency soundscape, the haunting rumble of drilling noises. The space resonates the recordings of the original noise produced by the drilling process, used to monitor deep-sea drilling operations, allowing the viewer to experience and incorporate for a moment the abyssal vibrations produced by deep-sea mining exploitation.

However, beyond any ruptures with technological and ecological paradigms, the artworks embody an anthropological perspective that prompts broader reflections on the concept of ‘belonging to a world already damaged’. This unfolds within a global panorama, unveiling numerous inquiries when directing an artistic gaze towards the dystopias we have created, as we are both the cause and consequence of this scenario. This paradox serves as a cornerstone for artistic expression, fostering profound discussions on conflicts, disasters, and neglect — integral aspects of human society’s relationship with itself and the environment. How do we contemplate art amidst the social-environmental emergency, humanitarian disasters, political conservatism, and violence dominating many territories, in a world seemingly collapsing around us? Perhaps, it is precisely in these moments that art becomes even more essential, not only to ensure our survival but, primarily, because mere survival is not enough.

Felipe de Ávila Franco (b. 1982) is a Brazilian visual artist who has been working between South America and Europe since 2013. His work delves into themes of biopolitics and environmental aesthetics, exploring the intersection of sculpture and other mediums. Through a blend of traditional and experimental techniques, his process incorporates industrial materials and residues, transfiguring them into sculptures, installations, ceramic series, and other interventions questioning notions of nature, energy, territory, and the human body. Grounded in concepts of materiality, his work expresses concern with the industrial dystopia of our times, illuminating sculpture as a practice capable of materializing temporalities and dimensions that reflect the encounter between the scales of the human, the nonhuman, and the planet. Currently, the artist divides his time between Brazil and Finland, with his work displayed in distinguished collections such as the Museum of Brazilian Arts FAAP in São Paulo, the Helsinki Arts Museum, and the Museum of Contemporary Art KIASMA in Helsinki, as well as exhibitions across South America, Asia, Europe, and the United States.

The Finnish Heritage Agency has supported the payment of artist’s exhibition fee.

The exhibition has been supported by: