ABOUT

More than 25 years dedicated to the construction of a personal visual language within erotic art, traversing pop culture, vintage advertising, and the explicit iconography of mass media. A trajectory that began in the early 2000s through traditional drawing and evolved independently, outside of movements, trends, or institutional validation as a starting point.

The journey includes exhibitions in Brazil and abroad, with presence in countries such as Romania and Argentina, as well as participation in erotic gallery circuits in the United States. Part of the work has also been featured in widely circulated adult publications such as Playboy and Sexy in Brazil, alongside interviews and documentary productions that document a continuous, extensive practice deliberately positioned outside the conventional boundaries of contemporary art.

Each piece emerges as a field of visual tension. It is neither neutral illustration nor decorative representation, but a continuous exercise in shifting boundaries. Eroticism, fetishization, aggressive advertising, horror, consumption, and objectification are used as structural material—not as gratuitous provocation, but as tools to investigate how far an image can be pushed before it is rejected, censored, or culturally reinterpreted.

The central intention of the work is the progressive rupture of what is considered acceptable. Each series operates as a test: what can be shown, what can be suggested, and, most importantly, what happens when those limits are no longer respected. The result does not aim for visual comfort, but for friction—a space where desire, repulsion, and fascination coexist without resolution.

The aesthetic foundation of this production emerges from the intersection of distinct cultural matrices. From the Japanese side, the strong influence of Showa-era pop culture runs directly through the work, especially tokusatsu, with its language of transformation, visual excess, theatricality, and bodies coded as spectacle. From the Western side, the work engages with horror, exploitation cinema, and postmodernism, where the image ceases to be representation and becomes collage, shock, and fragmented reconstruction of cultural references.

This fusion between Japan and the West is not decorative—it is structural. It defines how eroticism is constructed, distorted, and intensified within the works. The result is a hybrid visual vocabulary where fantasy, aesthetic violence, sensuality, and artificiality coexist on the same plane.

For more than two decades, this graphic style has been maintained and refined in isolation, without relying on external validation or market trends. Long before the rise of social media and the widespread circulation of aesthetics based on graphic eroticism, nostalgia, and pop culture appropriation, this visual repertoire was already being developed manually, on paper, through traditional drawing and painting processes.

What today circulates widely as visual trend was already part of a continuous research initiated when these codes were not yet accepted as a legitimate language within contemporary circuits.

The result is an extensive body of thousands of works that not only documents technical evolution, but also asserts a clear position: the refusal to soften the image. A practice that insists on crossing aesthetic and cultural boundaries, transforming eroticism into an extreme visual language, and art into a permanent territory of conflict between desire, censorship, cultural memory, and visual shock.