Body That Rises
74 pieces of wood
7 m x 2 m x 2 m
Body That Rises is a 7m-high sculpture built from 74 wood beams stacked to form a rising, square grid. ‘The piece is designed for the Giza plateau, and I’d like viewers to imagine that the shape echoes the framework of a large obelisk pointing skyward.’
The project includes a vertically mounted structure that points to the Egyptian sky, a sculpture for viewing on the Giza Plateau in Forever Is Now. The material used is Trevisan's signature material: wood railroad sleepers, and in doing so, engages Egypt's immediate past — the
train tracks laid down in the nineteenth century. And in their pure vertical form the vertical columns of both proposals directly reference skyward-pointing obelisks of the ancient past.
João Trevisan (b. 1986, Brasília, Brazil) is a São Paulo-based painter and sculptor who has been exhibiting steadily since 2014. Trevisan’s works explore issues of found value in waste material: the articulation of weight and lightness, tension and balance. The core of his artistic practice is performance. He sees himself as a walker who observes and collects objects. Early in his career, the starting point was the railroad track near his home in Brasília where he collected discarded railroad ties and iron scrap including bolts and plates which were later assembled as sculptures. Elements found on the railroad margins were then used, grouped, and ordered in different ways to produce new bodies, created and designed in accordance with spatial dynamics.
‘... João walks along the rails next to his road. Between worn wooden sleepers, tracks and pieces of abandonment, worn out and rusted ... The passage of time brings poetic structures that illuminate and hold on to his senses in a voracious search that is not only aesthetic. In truth, it is so much more!
In his notebook, visual and textual annotations are very well woven into the drawings and concepts, as well as presenting us the knowledge of the dense strength of wood and iron that he collects in his curious walks to welcome the “tension between two points”: balance vs imbalance; the bendable vs the unbendable, in infinite dispositions between visible and invisible beings.’
— Bene Fonteles, 2018