Daniel Frota

“My artistic practice comes from the design background and it started from the deadlocks of thinking objects without human. From a certain state of indifference that objects have towards observers, language and perception became the two main crossing paths of my investigations on translation. What happens to an object when it is perceived, carried over linguistic, cultural, temporal and ideological boundaries? I started to draw connections between writing and sculpture as two attitudes towards the materiality of language, using contingency as a form of rigor. In this regard, I usually explore unfixed relations between sculptures, texts, video, prints and publications in makeshift configurations, thinking installation as the arrangement of typography on a page or words in a sentence. This yet metaphorical relation towards translation highlights a feature that goes beyond the realm of words, which is the refuse of a monological truth, specially when we think about narratives. The parallelism of versions, horizontal relations between different perspectives, the non-preservation of an original and the instability of meaning in cross-temporal and cross-cultural readings are political concerns present in my research that comes from studies on post-colonial translation theories.” Website