OBRAS
OTONIEL
Serrinha (BA), 1995 I Lives and works in Serrinha (BA), Brazil.
Ogã, sculptor, painter and luthier. Interdisciplinary Artist, grandson of Dona Zenaide (black prayer woman born in Ichu - BA). He started as a musician at the age of 14, in Jacobina (BA), experiencing the local music of the philharmonics and fanfares, to the band of pife and masters suddenly and aboio. At 16, he migrates alone to Salvador, having contact with the academic fine arts. In 2017, he signed his studies in the area by attending the Interdisciplinary Bachelor of Arts at UFBA.
She was a violinist and Luthier in the Neojibá Program, accompanying the Bahia Youth Orchestra on their European tour in 2018. Also through this program, he underwent construction and restoration at Geigenbauschule Brienz - Switzerland; and worked as an intern in workshops in Geneva and France. During his stay in Brienz, he had contact with the school, students and teachers of the Schule für Holzbildhauerei, marking his artistic development in this field.
He participated in the Exhibition "Painting" at the Museum of Art of Bahia, 2019, as well as the 8th Hall of the School of Fine Arts, in the same year. Acting later in congresses, occupations and student meetings through UFBA. Participated in the Latin American Equinox Fair in 2022.
Otoniel researches, through experience in existence, the body path and territory, its aesthetics and poetics. Communing in his art, the sense of belonging to the Afrolatina nation and the deconditioning to the epistemic of colonization and the globalized world. Having seen his enchanted life obstructed since childhood by the white hegemonic European vision, disseminated in the construction and preservation of the Brazilian State through its institutional colonial relations, and evokes knowledge, listening, making and experiences of the brother-in-law as "popular", the shared. In contraposing to the corporate episteme of power, misappropriation of bodies and the disenchantment of life in its diversities and adversities.
INTERVIEW
How did you get into the art world?
I started in music study at the age of 12, more specifically playing the violin in a social program in Jacobina-BA. At 16, I went to Salvador to join the Neojibá program, where I specialized in Lutheria of rubbed ropes. From there I was able to travel to Europe, where I came into contact with the wooden carving schools in Switzerland. Other than that I was always looking forwarding and light, drew in everything, in what did not draw made batuques and music.
What do you understand as Fine Arts?
It is everything that is understood as a materiality, which has "something" capable of producing a gap in everyday life, breaking us from the foundations that surround us and from there causing a game of sensations, memories and feelings.
How do you define your Art?
My art is above all a talk of myself, of my experiences with the sacred, of my reenchantment, of the struggles of my people and of the things that make up my memories and observations. It is a mixture of the sacred and the profane, perhaps a certain ode to reality, to joy, to the fall of duality. And all that can make up the Afro-Latin being in their bodies, paths and territories.
What are your greatest references in the world of the Arts?
There are two leading sculptors who undoubtedly mess with me a lot. The first is the Conception of bugres. The other, Agnaldo dos Santos. Knowing the work of both certainly marked me a lot. I always carry some catalogs of them where I go to study their gestures and figurations. I also like Jayme Figuras, Mestre Didi, Zé Diabo, among others. I also study and reference some African ethnic groups, among them the Chokwe and grebo are the ones that fill my chest the most when I find some of their works. Not forgetting, obviously, the magnificent Bronzes of Benin.
What are the main themes used in his works? And why is that?
I leave candomblé of Ketu nation and Jeje Mahi, simply because that is what I experience every day. It is the culture in which I was born, and as a legitimate heir, having to move against epistemicide fighting as a guardian of the memories and trajectories of the old and the younger. I also tell about my daily experiences, the social, political, cultural and subjective reflections that I take from this daily life.
What are the main techniques used in your work? And which ones do you like to use the most?
Lately I have focused on woodcarving and painting, both have their individualities that fascinate me in artistic materialization. But undoubtedly, sculpture has increasingly shown itself the way to a range of possibilities. Still, I like to make painting and sculpture walk side by side.
What do you seek to pass through your works to the viewer?
I try above all to pass on the hope that despite the entire negative in the world, we must continue to fight. Simply because we have no other way out. I seek affection, beauty that runs away from preconceived patterns. In addition, to show that, unlike what we are taught, life is rather enchanted. And it does not alienate us, on the contrary, it is liberating.
What are your best and greatest experiences in your artistic career?
One of the experiences that most marked me, was to have interned in Switzerland for a few months, where I had contact with incredible sculptors. The other was to have two works integrated into the MAM-BA collection, along with a wonderful exhibition.
In his work, is there a kind of protest beyond what is obviously seen? If so, which one? If not, is there a theme that awakens your willingness to protest?
Therefore, as I said before, I work with some political views like historical payment and epistemicides. I also try to cite topics about current governments and colorism.
Are you interested in doing a traveling exhibition? If so, how do you imagine this exhibition? Would you know what topic you would like to address?
Not at the moment, but I am open to proposals. Although, I cannot physically leave my duties on the yard.
Where do you want to get to as an artist?
I want to be the best of my generation, to have worldwide recognition and to live/die as a reference.