• biography

    • currículo


    • critics


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    • João Monteiro was born in São Paulo in 1953 and revealed his talent very early, winning a number of national and international art awards. He earned scholarships and became student of Caetano Fraccaroli

      In 1972 João leaves FAUUSP for the Fine Arts in Paris, from where he graduated in 1977.

      Giving up his tenure as professor at Unicamp he ventures in a series of trips towards the inlands of Brazil exercising the many façades of his craftsmanship such as portraits, illustrations,decorations, sketches, fashion design, etc. These experiences fed his second guessing of our cultural identity, allowing him to re-define, from the mute language of our gestures, a new Brazilian visual aspect, to which he dedicated his art from that moment

      He returns to France in 1981, settling in Toulouse. He performs exhibits in many European countries and ads Africa to the journey.

      During the World Cup in France he is the invited artist by the city of Toulouse, where he exhibits monumental sculptures

      In 2006 he exhibits the group of monumental sculptures called “Deuses e Semi-Deuses do Futebol Brasileiro: A Ginga Canonizada” (Gods and Semi-Gods of Brazilian Football: The Sanctified Swing) at Anhangabau esplanade in downtown São Paulo; he exhibits and performs art workshops at SESI, on Avenida Paulista. João Monteiro keeps exhibiting in France only now living in Brazil, where he maintains his multi-faced work, in which sculptures and shapes in space are the cornerstone in his search for the expression of the Brazilian people.

    • painting

    • traditional


    • digital


    • mix-medias


    • Despite the fact that the optical and digital tools have become inevitable for the production and reproduction of images in our industrial society, on the other hand the nature of the artistic image is opposed to the advertising image. Art aims at the long term, at the universal and permanent, with a level of complexity that is not compatible with publicity and entertainment, that offer immediate fruition  without much effort. It is like sophisticated cuisine and fast food.

      Even without being able to avoid the influence of industrial images, new technologies and materials, I believe that art must remain critical in incorporating these new tools and not allowing that they change their methods and objectives. This is what I try to do, checking constantly these new tools vis a vis the traditional ones, from the desktop to the easel and vice versa.

      Even taking into consideration that direct confrontation with the material is more nourishing for the artistic mind than the virtual contact, the advantages of the new tools and technologies can be enormous, including   the rescue of tradition, for the vector images can be produced in the required dimensions, being able to be incorporated in architectural and landscape projects.

      I propose therefore several customized solutions from the vectorial drawings: images under several supports that could be retouched manually, composite panels of acrylic profiles assembled like stained glass, inlaid wood, etc.

    • sculpture

    • bronze


    • composites materials

      composites materials

    • Threadlike works

      Threadlike works

    • projects & monuments

      projects & monuments

    • digital


    • Sculpture is certainly the individual artistic expression that relies the most in tools and materials. In monumental scale it gets closer to architecture and engineering. It is the form of art that takes longer to be completed, but it is also the most durable. Adding to traditional materials such as clay, stone and brass, we now have synthetic resins, fiberglass, carbon, stainless steel and several other new materials and modeling tools, chisel, torches, power tools and even 3D printers and robots laser cutting. I have not made many monumental sculptures so far because it requires team work in industrial scale, but have developed several projects and prototypes as a large part of my work, because their proportion have this vocation. They go from the classics, often dealing with the body in movement, to the stylization, very ´clean´, figurative, becoming sometimes like threadlike 3D drawing, with light and transparency that dialogue with contemporary architecture and landscaping.