The work by the Brazilian visual artist

Paulo Monteiro (São Paulo, 1961) began his artistic journey at age sixteen, drawn to comic strips. In 1982, he and some schoolmates formed a collective studio that would later be known as Casa 7. The group sought to reinvigorate Brazilian painting while embracing external influences, most notably the works of Philip Guston, the Transvanguardia movement, and more broadly Abstract Expressionism. During this period, Monteiro worked with strong and dense compositions on large paperboards. Following the dissolution of Casa 7, Monteiro experimented with various techniques, taking concepts he had been exploring to new processes and formal solutions. In response to the lasting effects of the Neo-Concrete movement, this period was marked by a deep investigation into the boundaries between drawing, painting, and sculpture—an exploration that would continue to inform his practice. His work on paper and canvas expanded to include objects and installations made from found materials such as iron, rubber, and wood, as well as sculptures cast in iron and lead.
Continuously exploring the margins and limits of form, Monteiro delves into the possibilities of the line as an organic, dynamic, and yet controlled, principle. The line acts as both the trace of choreography and a boundary that demarcates different zones. The palette of his paintings oscillates between predominantly cool tones and strong, warm hues, at times, creating a strident contrast. Meanwhile, his sculptures displace handfuls of matter to create novel shapes that swell and crumble, resembling ever-transforming life forms.