Português
1961, lives and works at São Paulo, Brazil
In his work, Paulo Monteiro develops an ongoing reconciliation between the dual forms of painting and sculpture, continuously exploring the margins and limits of form. In doing so, he employs negative space as a medium, making paintings appear as sculptures and sculptures appear as paintings.
Monteiro began his artistic practice in 1977, precariously assembling pieces of wood into compositions that simultaneously suggested movement and collapse, focusing on the expressive qualities of the material. Between 1983 and 1985, he was part of the group Casa 7, alongside Carlito Carvalhosa, Fábio Miguez, Nuno Ramos, and Rodrigo Andrade. In the late 1980s and early 2000s, Monteiro immersed himself in sculptural practice. His return to painting, more than a decade ago, brought a new level of awareness to his work, in which paint is pushed toward the corners of the canvas, creating vigorous, physical boundaries.
His work is included in numerous permanent collections, including: The Museum of Modern Art (MoMA), New York; Museu de Arte Moderna de São Paulo (MAM-SP), São Paulo; Pinacoteca do Estado de São Paulo, São Paulo; Museu de Arte Contemporânea de São Paulo (MAC-SP), São Paulo; Museu de Arte Moderna do Rio de Janeiro (MAM-RJ), Rio de Janeiro; Museu de Arte Contemporânea de Niterói (MAC-Niterói), Rio de Janeiro; and Start Museum, Shanghai.