BIOGRAPHY
PREAMBLE
I live in emotional misery, a stranger to myself, a wreck who reaches his threshold of incompetence before he even started.
One day I draw a chick out of a magazine: miracle! I suddenly glimpse something that as an underdog of existence I didn’t know at 27 winters: the taste of life, nature, clouds, wind, chicks ! It was a deafening revelation. That piece of scribble was nothing, but for me, held in the cooler, it promised the universe.
I make my first self-portrait. It’s a tsunami! Little by little I rock from total indigence to billions of dollars! I become so rich that I fear apoplexy. I throw this avalanche in chaotic, demented, anarchical, hallucinated etchings!
Gradually, I take foot. I start to become “normal”. Women start realizing that I am there!
I get married and become a dad.
Me, who was afraid of my concierge, with my new biceps I don’t fear anything! I leave with my first wife and baby for New York. My unsuccessful architect training is transformed in “young architect full of talent”! I find a job immediately. I make money and nourish my small family. During two years I etch at night. I show my still lives, graphic constructions and portraits in New York. Reviews are great. The most important museums in the world buy some of my work (thank you America!).
The feat is done. I only have to repeat it until I am convinced. I train for an eternity. I already believe in it. I can start talking about it. Love and kisses,
Ro
BIOGRAPHY
I was born in Rio de Janeiro. My mother was French and my father Uruguayan. I made my studies in French and Portuguese in Rio. When I was 14 my father died and in 1947 I left for Paris. I enter the Beaux Arts School of Architecture where I make friends with the American architect Jules Gregory, in Paris on a six months grant of the French government. His strong personality impressed the “novice” I was. He took me under his wing and made me discover what could be the spirit of creation.
In 1956 I go back to Brazil. I rent a room in a house in Santa Tereza, a Rio de Janeiro district where, like most of the artists of my generation, I seek to equal Picasso. These efforts threw me into a depressive state that seemed endless.
In despair I drew a human figure from a magazine. This gesture decided the future of my work. It made me suddenly aware, at a time when representing reality was almost forbidden, of the cardinal importance drawing the human figure had for me.
Since that date, my work is a permanent dialectic between reality and creativity.
In 1957 I carry out my first figurative oil painted picture, a self-portrait. This work releases my energies. I do yoga, swim and lift weights.
First etchings (self-portraits, still lives and graphic constructions) in 1960.
My obsession for human reality is as obscene as the frolicking of Jeff Koons with the Ciciolina. The emotional, crushed everywhere, also bursts in many artists with the masks and portraits of Valérie Belin and the theatre of Jan Fabre.
The representation of the human figure brings force, but this force wouldn’t have any object without the concept of creation, which releases the chained energies of the human animal.
In 1961 I leave for New York with my first wife and the baby. The day, I work for architects (Skidmore, Owings & Merril), at night I work on my etchings.
In 1964, the Consul of Brazil, Ms. Dora Vasconcellos, introduces me to Armando Zegri, director of the Sudamericana Gallery in New York. He invites me for a one-man show of etchings at the gallery.
The show is welcomed by the critics and works are acquired by the Metropolitan Museum of Art and the Museum of Modern Art.
I take part in several group shows in the US. The print Club of Philadelphia invites me for a two-man show with the etcher Matt Phillips.
In 1966 I go back to Brazil.
First painted woods.
In Rio, the American photographer David Zing invites me for a one-man show at the G-4 Gallery of the architect Sergio Bernardes.
- One-man shows at the Galleries A.R. Hayatt and Quadro.
In Sao Paulo, I meet the painter Wesley Duke Lee who invites me to integrate the “Rex Group” which he created with avant-garde Brazilian artists. He introduces me to Pietro Maria Bardi, Director and Founder of the Museum of Art (MASP) of Sao Paulo, the most important museum in Latin América. Bardi offers me a one-man show at the Museum.
By the end of 1967, I go back to France and settle in Paris.
I work during two years at the Lacourrière Workshop with Jacques Frélaut.
1971, Etchings acquired by the National Library, Paris.
1973, Purchase Award, Rank Xerox International Print Competition, Paris.
1975, One-man show of etchings at the Museum of Art in Sao
Paulo.
First painted steel sculptures in 1977
1977, Etchings acquired by the School of Arts & Crafts, Oakland, California.
1979, Works in the “Lacourière-Frélaut Workshop” Show, Museum of Modern Art, Paris.
From 1977 to 2006, I carried out 52 painted steel sculptures, 3 multiples, 25 self-portraits (etchings and oils), 8 graphic constructions (aquatints), 30 black lead drawings, 13 large steel panels and a monumental sculpture-fountain in steel tubes, for various public buildings.
During that period, I don’t seek to exhibit. I wrap myself in my work, finally affirming that alternation between reality and creativity which is deeply anchored in my nature.
1980, Multiple acquired by the Saint Dié des Vosges Museum.
1982, Painted steel sculpture acquired by the French Contemporary Art Fund.
1984, Etching selected by the Biennial Committee, 6th Miami International Print Biennial.
Steel Panels and Sculptures in Public Buildings
- Painted steel structure, Junior High School, Lyon, France
- Sculpture-fountain, steel tubes, Law Courts, Nancy, France
- 6 painted steel panels, Law Courts, Nancy
- Pavement of the Main Hall, Law Courts, Nancy
- 4 painted steel panels, Bank of Brazil, Valencia, Spain
- Painted steel sculpture, Post Office Square, Chateau-Chinon, France
- 2 painted steel panels, School of Dance of the Opera of Paris
From 1990 on, I quit the angle and the straight line and start a random language, close to tagging.
2004 Multiple acquired by the MADI Museum, Ceará, Brazil.
2005 Two-man Show of painted steel sculptures with the brazilian
sculptor Jaildo Marinho at the Mariño Gallery, Paris.
2006 Honour Guest, Massy-Palaiseau City 9th Annual Show.
2006 Invited by the APEB (Brazilian Researchers Association in France) to speak on my work at the House of Brazil, Cité Universitaire, Paris.
To conclude, I will say my work is based on antagonisms: self-portraits versus steel sculptures. As in my life, I need to oppose to the urban reality in which I live the reality of nature. There I find the ever renewed force and pleasure to undertake.
I live in emotional misery, a stranger to myself, a wreck who reaches his threshold of incompetence before he even started.
One day I draw a chick out of a magazine: miracle! I suddenly glimpse something that as an underdog of existence I didn’t know at 27 winters: the taste of life, nature, clouds, wind, chicks ! It was a deafening revelation. That piece of scribble was nothing, but for me, held in the cooler, it promised the universe.
I make my first self-portrait. It’s a tsunami! Little by little I rock from total indigence to billions of dollars! I become so rich that I fear apoplexy. I throw this avalanche in chaotic, demented, anarchical, hallucinated etchings!
Gradually, I take foot. I start to become “normal”. Women start realizing that I am there!
I get married and become a dad.
Me, who was afraid of my concierge, with my new biceps I don’t fear anything! I leave with my first wife and baby for New York. My unsuccessful architect training is transformed in “young architect full of talent”! I find a job immediately. I make money and nourish my small family. During two years I etch at night. I show my still lives, graphic constructions and portraits in New York. Reviews are great. The most important museums in the world buy some of my work (thank you America!).
The feat is done. I only have to repeat it until I am convinced. I train for an eternity. I already believe in it. I can start talking about it. Love and kisses,
Ro
BIOGRAPHY
I was born in Rio de Janeiro. My mother was French and my father Uruguayan. I made my studies in French and Portuguese in Rio. When I was 14 my father died and in 1947 I left for Paris. I enter the Beaux Arts School of Architecture where I make friends with the American architect Jules Gregory, in Paris on a six months grant of the French government. His strong personality impressed the “novice” I was. He took me under his wing and made me discover what could be the spirit of creation.
In 1956 I go back to Brazil. I rent a room in a house in Santa Tereza, a Rio de Janeiro district where, like most of the artists of my generation, I seek to equal Picasso. These efforts threw me into a depressive state that seemed endless.
In despair I drew a human figure from a magazine. This gesture decided the future of my work. It made me suddenly aware, at a time when representing reality was almost forbidden, of the cardinal importance drawing the human figure had for me.
Since that date, my work is a permanent dialectic between reality and creativity.
In 1957 I carry out my first figurative oil painted picture, a self-portrait. This work releases my energies. I do yoga, swim and lift weights.
First etchings (self-portraits, still lives and graphic constructions) in 1960.
My obsession for human reality is as obscene as the frolicking of Jeff Koons with the Ciciolina. The emotional, crushed everywhere, also bursts in many artists with the masks and portraits of Valérie Belin and the theatre of Jan Fabre.
The representation of the human figure brings force, but this force wouldn’t have any object without the concept of creation, which releases the chained energies of the human animal.
In 1961 I leave for New York with my first wife and the baby. The day, I work for architects (Skidmore, Owings & Merril), at night I work on my etchings.
In 1964, the Consul of Brazil, Ms. Dora Vasconcellos, introduces me to Armando Zegri, director of the Sudamericana Gallery in New York. He invites me for a one-man show of etchings at the gallery.
The show is welcomed by the critics and works are acquired by the Metropolitan Museum of Art and the Museum of Modern Art.
I take part in several group shows in the US. The print Club of Philadelphia invites me for a two-man show with the etcher Matt Phillips.
In 1966 I go back to Brazil.
First painted woods.
In Rio, the American photographer David Zing invites me for a one-man show at the G-4 Gallery of the architect Sergio Bernardes.
- One-man shows at the Galleries A.R. Hayatt and Quadro.
In Sao Paulo, I meet the painter Wesley Duke Lee who invites me to integrate the “Rex Group” which he created with avant-garde Brazilian artists. He introduces me to Pietro Maria Bardi, Director and Founder of the Museum of Art (MASP) of Sao Paulo, the most important museum in Latin América. Bardi offers me a one-man show at the Museum.
By the end of 1967, I go back to France and settle in Paris.
I work during two years at the Lacourrière Workshop with Jacques Frélaut.
1971, Etchings acquired by the National Library, Paris.
1973, Purchase Award, Rank Xerox International Print Competition, Paris.
1975, One-man show of etchings at the Museum of Art in Sao
Paulo.
First painted steel sculptures in 1977
1977, Etchings acquired by the School of Arts & Crafts, Oakland, California.
1979, Works in the “Lacourière-Frélaut Workshop” Show, Museum of Modern Art, Paris.
From 1977 to 2006, I carried out 52 painted steel sculptures, 3 multiples, 25 self-portraits (etchings and oils), 8 graphic constructions (aquatints), 30 black lead drawings, 13 large steel panels and a monumental sculpture-fountain in steel tubes, for various public buildings.
During that period, I don’t seek to exhibit. I wrap myself in my work, finally affirming that alternation between reality and creativity which is deeply anchored in my nature.
1980, Multiple acquired by the Saint Dié des Vosges Museum.
1982, Painted steel sculpture acquired by the French Contemporary Art Fund.
1984, Etching selected by the Biennial Committee, 6th Miami International Print Biennial.
Steel Panels and Sculptures in Public Buildings
- Painted steel structure, Junior High School, Lyon, France
- Sculpture-fountain, steel tubes, Law Courts, Nancy, France
- 6 painted steel panels, Law Courts, Nancy
- Pavement of the Main Hall, Law Courts, Nancy
- 4 painted steel panels, Bank of Brazil, Valencia, Spain
- Painted steel sculpture, Post Office Square, Chateau-Chinon, France
- 2 painted steel panels, School of Dance of the Opera of Paris
From 1990 on, I quit the angle and the straight line and start a random language, close to tagging.
2004 Multiple acquired by the MADI Museum, Ceará, Brazil.
2005 Two-man Show of painted steel sculptures with the brazilian
sculptor Jaildo Marinho at the Mariño Gallery, Paris.
2006 Honour Guest, Massy-Palaiseau City 9th Annual Show.
2006 Invited by the APEB (Brazilian Researchers Association in France) to speak on my work at the House of Brazil, Cité Universitaire, Paris.
To conclude, I will say my work is based on antagonisms: self-portraits versus steel sculptures. As in my life, I need to oppose to the urban reality in which I live the reality of nature. There I find the ever renewed force and pleasure to undertake.
PREAMBLE
I live in emotional misery, a stranger to myself, a wreck who reaches his threshold of incompetence before he even started.
One day I draw a chick out of a magazine: miracle! I suddenly glimpse something that as an underdog of existence I didn’t know at 27 winters: the taste of life, nature, clouds, wind, chicks ! It was a deafening revelation. That piece of scribble was nothing, but for me, held in the cooler, it promised the universe.
I make my first self-portrait. It’s a tsunami! Little by little I rock from total indigence to billions of dollars! I become so rich that I fear apoplexy. I throw this avalanche in chaotic, demented, anarchical, hallucinated etchings!
Gradually, I take foot. I start to become “normal”. Women start realizing that I am there!
I get married and become a dad.
Me, who was afraid of my concierge, with my new biceps I don’t fear anything! I leave with my first wife and baby for New York. My unsuccessful architect training is transformed in “young architect full of talent”! I find a job immediately. I make money and nourish my small family. During two years I etch at night. I show my still lives, graphic constructions and portraits in New York. Reviews are great. The most important museums in the world buy some of my work (thank you America!).
The feat is done. I only have to repeat it until I am convinced. I train for an eternity. I already believe in it. I can start talking about it. Love and kisses,
Ro
BIOGRAPHY
I was born in Rio de Janeiro. My mother was French and my father Uruguayan. I made my studies in French and Portuguese in Rio. When I was 14 my father died and in 1947 I left for Paris. I enter the Beaux Arts School of Architecture where I make friends with the American architect Jules Gregory, in Paris on a six months grant of the French government. His strong personality impressed the “novice” I was. He took me under his wing and made me discover what could be the spirit of creation.
In 1956 I go back to Brazil. I rent a room in a house in Santa Tereza, a Rio de Janeiro district where, like most of the artists of my generation, I seek to equal Picasso. These efforts threw me into a depressive state that seemed endless.
In despair I drew a human figure from a magazine. This gesture decided the future of my work. It made me suddenly aware, at a time when representing reality was almost forbidden, of the cardinal importance drawing the human figure had for me.
Since that date, my work is a permanent dialectic between reality and creativity.
In 1957 I carry out my first figurative oil painted picture, a self-portrait. This work releases my energies. I do yoga, swim and lift weights.
First etchings (self-portraits, still lives and graphic constructions) in 1960.
My obsession for human reality is as obscene as the frolicking of Jeff Koons with the Ciciolina. The emotional, crushed everywhere, also bursts in many artists with the masks and portraits of Valérie Belin and the theatre of Jan Fabre.
The representation of the human figure brings force, but this force wouldn’t have any object without the concept of creation, which releases the chained energies of the human animal.
In 1961 I leave for New York with my first wife and the baby. The day, I work for architects (Skidmore, Owings & Merril), at night I work on my etchings.
In 1964, the Consul of Brazil, Ms. Dora Vasconcellos, introduces me to Armando Zegri, director of the Sudamericana Gallery in New York. He invites me for a one-man show of etchings at the gallery.
The show is welcomed by the critics and works are acquired by the Metropolitan Museum of Art and the Museum of Modern Art.
I take part in several group shows in the US. The print Club of Philadelphia invites me for a two-man show with the etcher Matt Phillips.
In 1966 I go back to Brazil.
First painted woods.
In Rio, the American photographer David Zing invites me for a one-man show at the G-4 Gallery of the architect Sergio Bernardes.
- One-man shows at the Galleries A.R. Hayatt and Quadro.
In Sao Paulo, I meet the painter Wesley Duke Lee who invites me to integrate the “Rex Group” which he created with avant-garde Brazilian artists. He introduces me to Pietro Maria Bardi, Director and Founder of the Museum of Art (MASP) of Sao Paulo, the most important museum in Latin América. Bardi offers me a one-man show at the Museum.
By the end of 1967, I go back to France and settle in Paris.
I work during two years at the Lacourrière Workshop with Jacques Frélaut.
1971, Etchings acquired by the National Library, Paris.
1973, Purchase Award, Rank Xerox International Print Competition, Paris.
1975, One-man show of etchings at the Museum of Art in Sao
Paulo.
First painted steel sculptures in 1977
1977, Etchings acquired by the School of Arts & Crafts, Oakland, California.
1979, Works in the “Lacourière-Frélaut Workshop” Show, Museum of Modern Art, Paris.
From 1977 to 2006, I carried out 52 painted steel sculptures, 3 multiples, 25 self-portraits (etchings and oils), 8 graphic constructions (aquatints), 30 black lead drawings, 13 large steel panels and a monumental sculpture-fountain in steel tubes, for various public buildings.
During that period, I don’t seek to exhibit. I wrap myself in my work, finally affirming that alternation between reality and creativity which is deeply anchored in my nature.
1980, Multiple acquired by the Saint Dié des Vosges Museum.
1982, Painted steel sculpture acquired by the French Contemporary Art Fund.
1984, Etching selected by the Biennial Committee, 6th Miami International Print Biennial.
Steel Panels and Sculptures in Public Buildings
- Painted steel structure, Junior High School, Lyon, France
- Sculpture-fountain, steel tubes, Law Courts, Nancy, France
- 6 painted steel panels, Law Courts, Nancy
- Pavement of the Main Hall, Law Courts, Nancy
- 4 painted steel panels, Bank of Brazil, Valencia, Spain
- Painted steel sculpture, Post Office Square, Chateau-Chinon, France
- 2 painted steel panels, School of Dance of the Opera of Paris
From 1990 on, I quit the angle and the straight line and start a random language, close to tagging.
2004 Multiple acquired by the MADI Museum, Ceará, Brazil.
2005 Two-man Show of painted steel sculptures with the brazilian
sculptor Jaildo Marinho at the Mariño Gallery, Paris.
2006 Honour Guest, Massy-Palaiseau City 9th Annual Show.
2006 Invited by the APEB (Brazilian Researchers Association in France) to speak on my work at the House of Brazil, Cité Universitaire, Paris.
To conclude, I will say my work is based on antagonisms: self-portraits versus steel sculptures. As in my life, I need to oppose to the urban reality in which I live the reality of nature. There I find the ever renewed force and pleasure to undertake.
I live in emotional misery, a stranger to myself, a wreck who reaches his threshold of incompetence before he even started.
One day I draw a chick out of a magazine: miracle! I suddenly glimpse something that as an underdog of existence I didn’t know at 27 winters: the taste of life, nature, clouds, wind, chicks ! It was a deafening revelation. That piece of scribble was nothing, but for me, held in the cooler, it promised the universe.
I make my first self-portrait. It’s a tsunami! Little by little I rock from total indigence to billions of dollars! I become so rich that I fear apoplexy. I throw this avalanche in chaotic, demented, anarchical, hallucinated etchings!
Gradually, I take foot. I start to become “normal”. Women start realizing that I am there!
I get married and become a dad.
Me, who was afraid of my concierge, with my new biceps I don’t fear anything! I leave with my first wife and baby for New York. My unsuccessful architect training is transformed in “young architect full of talent”! I find a job immediately. I make money and nourish my small family. During two years I etch at night. I show my still lives, graphic constructions and portraits in New York. Reviews are great. The most important museums in the world buy some of my work (thank you America!).
The feat is done. I only have to repeat it until I am convinced. I train for an eternity. I already believe in it. I can start talking about it. Love and kisses,
Ro
BIOGRAPHY
I was born in Rio de Janeiro. My mother was French and my father Uruguayan. I made my studies in French and Portuguese in Rio. When I was 14 my father died and in 1947 I left for Paris. I enter the Beaux Arts School of Architecture where I make friends with the American architect Jules Gregory, in Paris on a six months grant of the French government. His strong personality impressed the “novice” I was. He took me under his wing and made me discover what could be the spirit of creation.
In 1956 I go back to Brazil. I rent a room in a house in Santa Tereza, a Rio de Janeiro district where, like most of the artists of my generation, I seek to equal Picasso. These efforts threw me into a depressive state that seemed endless.
In despair I drew a human figure from a magazine. This gesture decided the future of my work. It made me suddenly aware, at a time when representing reality was almost forbidden, of the cardinal importance drawing the human figure had for me.
Since that date, my work is a permanent dialectic between reality and creativity.
In 1957 I carry out my first figurative oil painted picture, a self-portrait. This work releases my energies. I do yoga, swim and lift weights.
First etchings (self-portraits, still lives and graphic constructions) in 1960.
My obsession for human reality is as obscene as the frolicking of Jeff Koons with the Ciciolina. The emotional, crushed everywhere, also bursts in many artists with the masks and portraits of Valérie Belin and the theatre of Jan Fabre.
The representation of the human figure brings force, but this force wouldn’t have any object without the concept of creation, which releases the chained energies of the human animal.
In 1961 I leave for New York with my first wife and the baby. The day, I work for architects (Skidmore, Owings & Merril), at night I work on my etchings.
In 1964, the Consul of Brazil, Ms. Dora Vasconcellos, introduces me to Armando Zegri, director of the Sudamericana Gallery in New York. He invites me for a one-man show of etchings at the gallery.
The show is welcomed by the critics and works are acquired by the Metropolitan Museum of Art and the Museum of Modern Art.
I take part in several group shows in the US. The print Club of Philadelphia invites me for a two-man show with the etcher Matt Phillips.
In 1966 I go back to Brazil.
First painted woods.
In Rio, the American photographer David Zing invites me for a one-man show at the G-4 Gallery of the architect Sergio Bernardes.
- One-man shows at the Galleries A.R. Hayatt and Quadro.
In Sao Paulo, I meet the painter Wesley Duke Lee who invites me to integrate the “Rex Group” which he created with avant-garde Brazilian artists. He introduces me to Pietro Maria Bardi, Director and Founder of the Museum of Art (MASP) of Sao Paulo, the most important museum in Latin América. Bardi offers me a one-man show at the Museum.
By the end of 1967, I go back to France and settle in Paris.
I work during two years at the Lacourrière Workshop with Jacques Frélaut.
1971, Etchings acquired by the National Library, Paris.
1973, Purchase Award, Rank Xerox International Print Competition, Paris.
1975, One-man show of etchings at the Museum of Art in Sao
Paulo.
First painted steel sculptures in 1977
1977, Etchings acquired by the School of Arts & Crafts, Oakland, California.
1979, Works in the “Lacourière-Frélaut Workshop” Show, Museum of Modern Art, Paris.
From 1977 to 2006, I carried out 52 painted steel sculptures, 3 multiples, 25 self-portraits (etchings and oils), 8 graphic constructions (aquatints), 30 black lead drawings, 13 large steel panels and a monumental sculpture-fountain in steel tubes, for various public buildings.
During that period, I don’t seek to exhibit. I wrap myself in my work, finally affirming that alternation between reality and creativity which is deeply anchored in my nature.
1980, Multiple acquired by the Saint Dié des Vosges Museum.
1982, Painted steel sculpture acquired by the French Contemporary Art Fund.
1984, Etching selected by the Biennial Committee, 6th Miami International Print Biennial.
Steel Panels and Sculptures in Public Buildings
- Painted steel structure, Junior High School, Lyon, France
- Sculpture-fountain, steel tubes, Law Courts, Nancy, France
- 6 painted steel panels, Law Courts, Nancy
- Pavement of the Main Hall, Law Courts, Nancy
- 4 painted steel panels, Bank of Brazil, Valencia, Spain
- Painted steel sculpture, Post Office Square, Chateau-Chinon, France
- 2 painted steel panels, School of Dance of the Opera of Paris
From 1990 on, I quit the angle and the straight line and start a random language, close to tagging.
2004 Multiple acquired by the MADI Museum, Ceará, Brazil.
2005 Two-man Show of painted steel sculptures with the brazilian
sculptor Jaildo Marinho at the Mariño Gallery, Paris.
2006 Honour Guest, Massy-Palaiseau City 9th Annual Show.
2006 Invited by the APEB (Brazilian Researchers Association in France) to speak on my work at the House of Brazil, Cité Universitaire, Paris.
To conclude, I will say my work is based on antagonisms: self-portraits versus steel sculptures. As in my life, I need to oppose to the urban reality in which I live the reality of nature. There I find the ever renewed force and pleasure to undertake.
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