Vinicius Mota (°1987, Belo Horizonte, Brazil) is an artist who works in a variety of media. By applying abstraction, Mota often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His artworks are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By studying sign processes, signification and communication, he makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. With a conceptual approach, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. In a search for new methods to ‘read the city’, he focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. With a subtle minimalistic approach, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of art: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination.
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