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Musician Playing The Zabumba

Guilherme Santos - 2018

Carved ceder wood

35,00 cm height x 6,50cm width x 12,00 cm depth

USD 255,00

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Delivery period: 20 to 25 days to any country outside Brazil

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Product code: 14386

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THE ARTIST

Guilherme Santos

“Organic recycling is a way of showing how easy it is to live in harmony with the environment without damaging it”

Numerous unique species; subtle, contemplative beauty: the Brazilian cerrado – the central, tropical savanna ecoregion of the country – is Brazil’s second largest biome, and has vital environmental and social value.

In this vast environment, there are 216 indigenous territories, and 83 ethnicities – settlements including *Quilombolas, *Sertanejos, and *riverbank communities. The region has only 10 edible fruits – which feed the population and play a significant part in local commerce – but by providing plants that grow nowhere else, the region’s vegetation fosters progress of the Brazilian economy, through recovery of soils.

The harmonious coexistence between these different aspects of the region and agribusiness is admirable. It is like diving into the essence of Brazilian diversity, originality and coexistence – what it means to be Brazilian – all in one space at one time.

Inspired by this diversity, Guilherme Santos – who comes from the state of Tocantins – transforms the Cerrado region of the Brazilian Sertão into art: he sculpts his figurative pieces mainly in buriti, a wood abundant in the biome; and says that the jatobá (a stable and resonant dense wood) and the plant sponge (Luffa aegyptiaca, known to us as loofah) are also fundamental natural elements that enrich his sculptures.

Inspired by this diversity, Guilherme Santos – who comes from the state of Tocantins – transforms the Cerrado region of the Brazilian Sertão into art: he sculpts his figurative pieces mainly in buriti, jatobá and the plant sponge.

“Organic recycling is a way of showing how easy it is to live in harmony with the environment without damaging it”, he says.

The value that he gives to these natural Brazilian elements would already be enough to set out a parallel between Guilherme’s works and the artists of the Brazilian “tropicalista” movement. “Tropicalism” broke with the aesthetic standards and customs that came from the major centers of world art, such as Europe.

The relationship with tropicalism is even clearer when Guilherme merges his talent with typical elements of Brazilian popular culture. In the series on musicians, presented here in autentikart, he deals with the instruments used in the so-called “Forró Pé de Serra” – the most traditional form of the Forró musical genre, which portrays daily life in the Sertão of the Brazilian North and Northeast.

As in Tropicalism, Guilherme popularizes his works by imposing emotion and simplicity in the characters he portrays. “Each piece is an individual work; each work takes one form and one representation,” he says.

Since his infancy he has had a passion for the arts. As well as attending a carpentry and joinery school, he practiced drawing for comic books.

He first sold his work in public markets, and has now taken part innumerable times in the São Paulo Crafts Fair (Salão de Artesanato de São Paulo), which is recognized for accepting only the best statuary artists in Brazil and presenting their works. He has participated in numerous other collective exhibitions in Brazil, especially in his own state, Tocantins, and internationally in Milan, Italy.

* Quilombolas: areas of refuge for African and African-descendant slaves throughout the American continent

* Sertanejos: isolated communities in the Sertão far from urban centers

* Riverbank communities mostly depend on fishing for a living

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