When we look at the work of Túlio Pinto, we invariably go through an impressive experience, which is also riveting and no less bewildering. Dealing with tension to the limit, his pieces and sculpting sets create situations that invite us to inhabit them, even if temporarily, thus making us experience our own bodies as a physical presence in the world of things. They also irradiate a seductive appeal to vision, due to the clarity, concision and the harmony that emanate from the objects, the arrangements, and the constructions.
Túlio’s pieces are located between sculpture and installation, confronting rigidity and frailty, strength and resistance, balance and collapse, from mechanisms and systems created with materials, such as wood cubes, glass sheets, concrete blocks, metal structures and steel plates, which are supported and/or attached by cables, pulleys, fabric ribbons, pendular rocks, portions of sand and rubber balloons, among others.
In the face of these pieces created with ordinary material, whether natural or industrialized, we are not only observers, but also participants of a specific time-space, which, in turn, demands a perceptive self-awareness of the phenomenological experience. That is because they are pieces and sets that are spatial in time, and, at the same time, temporal in space.
His production is completely ruled by a sculpting thought, whose conceptual core deals, above all, with movement or its restraint, thus understanding the notion of movement from the most traditional definition, coming from Mechanic Physics, which states that it is the variation of a point or object in space in relation to time.
To better understand this key to reading Túlio Pinto’s work from the perspective of movement, it is necessary to revisit stages of his journey and place some of its unfoldings. This operation will be guided here by a sense that is not precisely chronological or evolutionary, but by one that crosses different times and spaces of his artwork. Therefore, also in movement.
His artistic journey started with painting in 2004, at Atelier Livre in Porto Alegre. Túlio studied at Parque Lage in Rio de Janeiro before he started taking Visual Arts at the Federal University of Rio Grande do Sul in 2006. In the following years, he would change the emphasis of his work into a sculpting practice, understood as an expanded field, giving body to a kind of work, in the perspective of formal and procedural aspects, which echoes his minimalist predecessors, in names such as Anthony Caro, Charles Ginnever, Carl Andre, David Smith, Donald Judd, Giovanni Anselmo, Mark Di Suvero, Richard Serra, Robert Morris and Tony Smith. The same approximation is accepted for the so-called neovanguards, like the conceptualisms, the land art, the performances, the installations, the site-specificity, the in-situ and the dematerialized practices that emphasize process and time.
It is not, however, about encapsulating Túlio Pinto’s work into an interpretation that is strictly linked to critical and theoretical paradigms of the North American matrix of the second half of the 20th Century; this is not enough. In his pieces and sculpting sets, it is possible to identify resounding aspects of the constructive components of the Brazilian Modernism of the 1950s and 1960s, such as the geometric thought of the shapes, linked to the thoughts regarding materials, for example with Amilcar de Castro and Franz Weissmann, and dialogues established with the formal and conceptual vocabulary of contemporary Brazilian artists such as Cildo Meireles, José Resende, Nelson Félix, Nuno Ramos and Waltercio Caldas.

Pendular Balance, Imminent Movement

One can in general say that Túlio’s production is marked by apparently simple pieces, though with complex solutions, which draw attention to the postulates that shape the processes, practices and other procedures.
The objects and structures in state of tension and limit, which the artist first creates with a sculpting thought and then materializing mechanisms involving weights, swaying and balance, are then structured using Static and Dynamic Mechanics systems. It is as if the equations could provide mathematical explanations regarding the suspended situations that he creates, even if they seem impossible and not viable. The pieces seem to be always about to, on the verge of, therefore the suggestion of a permanent tensioning that crosses a force field linked to the laws of physics – dealing especially with gravity and the resistence of materials –, which also involves and crosses the bodies and the looks inserted in this force field. According to the artist, ‘We can realize and sculpt ourselves to the limits. In this sense, my work is a bridge that points me to a certain understanding of the world that I did not have. Therefore, it is also sculpting myself’ .
The series of sculpting installations ‘Nadir’ stretches the notion of limits with big glass sheets, inclined by means of rope arrangements balanced by the weight of pendular rocks. In the countless configurations used by the pieces, we can highlight a graphic stress if we consider that the course of the ropes, as well as the planes suggested by the materials coordinated with the force invested in the supporting of the structures, always offer images that seem to result also from the act of drawing in space. In the end, these are constructions that are apparently guided by anti-engineering processes and that deal with tension both in the contrast between rigid and frail materials, and in the points of stability of the structures, which always seem about to collapse. Therefore, they create a kind of magnetized field, which attracts our presence, but makes us hesitant in getting close, due to the sensation of risk that these works insinuate.
It is what the works in the series ‘Compensação’ (in English, Compensation) also offer, again with big glass sheets crossing a cube of cast steel, supported on the side of another cube, thus forming a situation of suspended balance. The same can be seen in ‘Cumplicidade’ (in English, Complicity), a series of sculpting objects in which glass balloons are always tensed by the pressure of the weight exerted by steel beams, forming intriguing arrangements, due to the formal aspects of the pieces and the confrontation between rigidity and frailty of the distinct materials.
The works in the series ‘Cumplicidade’ not only dialogue, but also offer an unfolding in relation to another series ‘Tempo’ (in English, Time), structured with concrete blocks, supported by rubber balloons against a wall. Túlio Pinto presented the piece in different configurations. It was the version of three balloons and three concrete blocks, placed side by side, that made the artist discover something in relation to his work: the materials he used do not behave homogeneously. In over 30 days, in the exhibition at Paço dos Açorianos in Porto Alegre in 2009, the set presented different behaviors: one balloon was almost deflated, another had a little air, and the third presented practically no change. According to Túlio, ‘I discovered not only the volatile properties of air and balloons, but that the materials, even if industrialized, are not equal and react differently. It makes me think about the materials from a more, let’s say, personal/individual perspective. It is as if there was an individualization characteristic to the objects.’
In this sense, there is the understanding of a performative nature of the materials and the objects, which became better understood the moment that Túlio Pinto used photography to deal with the different movements of the sets and arrangements. With the simple gesture of registering a ‘before and after’ in photographs of the three moments offered by ‘Tempo’, the artist documented different movement stages, which attests to denying any static nature in its sculpting practice.
If in ‘Tempo’ the air balloons are pressured by blocks and beams, offering a piece that is constituted of duration, ‘Cumplicidade’ presents a single instant of transition for the glass balloons from liquid to solid, that state defined by the final stage and stabilized by the force exerted by the beams, which take on different formal shapes in each piece. It is as if in the process there was a sort of imprinting on the glass, a remnant of monotype, which also provides here a certain individualization of the objects, if one considers the different resulting shapes.
Guided by an ever-changing creative flow, by the transfer of materials and conceptual unfoldings, it is as if each project created by Túlio Pinto feeds the next ones. Glass, concrete and steel actually migrate from one project to another, being (re)incorporated to indicate new projects. According to Túlio Pinto: ‘When an artist says he starts painting and then has a chat with the painting, that the canvas starts requesting certain things, this also happens with sculptures, with the materials saying things, pointing directions. The materials migrate, and the pieces are created.’
Although there is the understanding that his sculpting projects already exist in his mind, it is in fact in space that they take place. They start working, if one may say so, from the experiments made possible in the game created by the materials, objects, fitting and balance. A procedure that claims the experimental nature of the creative process. ‘This going into space is to materialize the piece in space itself. That’s where the jazz starts. It may happen as it is, or differently. It is a matter of realizing the weight of the pieces and the swaying they offer,’ says Túlio Pinto.
And here a new situation develops, which questions the notion of physical inseparability between the piece and the place it is installed. That is, the ingrained character of the piece, such as in the tradition of the site-specificity art. The objects and the structures that Túlio arranges in the space are prone to displacement and to the possibility of transferring in relation to its site-specific, whether they are guided by architecture or by the landscape. By making from the installation space a real place , with a tangible reality, configured both by the position of the observer and the presence of the piece – therefore phenomenological –, Túlio creates projects as a response to a set of circumstances, but that can be moved to other spaces without losing strength or potency. On the contrary, finding new meanings in the recontextualization of the temporary reallocations, which are, in many occasions, more accurate and dense.
This takes place not only in the exhibition space, but also in the public space, or even in-between. There are several pieces of sculpting-performatic nature, presented by Túlio Pinto in open areas, whether natural or urban, which generate connections with the so-called public art and with land art.
The video ‘Unicórnio’ (in English, Unicorn) is an example. Developed while he lived in Phoenix, in the United States, it consists in the performance of a man dressed in orange, wearing the unicorn mask. On his back, there are extensive balloons, shaped as guts, which are suspended in the air, in a natural landscape, surrounded by the topography of mountains and rocks. The beauty of the situation portrayed in the video – surreal up to a certain point – comes largely from an understanding of having there a sculpting-performatic situation interacting with the physicality of the natural landscape, arising from the creation in a fictional universe.
These balloons shaped as orange cylinders migrated from other works and continue migrating. In the series ‘Linhas’ (in English, Lines), they also establish suspended sculptures in the air, like rhizomatic structures, fighting for their verticalization. The actions are conducted both in closed and open spaces, many times in places of leisure, such as parks, thus creating a relational situation with the passers-by, who become the audience upon sharing the space projected by the art piece. The result of this procedure is an organic nature of mobility and flexibility, between lasting and temporary, since they are ephemeral sculpting-performatic pieces, presented for a determined period.

Sculpting, Transitory and Successive

Understanding that the body movement in space and time is also a sculpting act, Túlio’s artwork has a certain performatic nature, in which the body itself is absent, unseen, and calling attention to the already mentioned performance, which takes place in the materials level. This was the case of the residence created for IZOLYATSIA – Platform for Cultural Initiatives in 2014, in Donetsk, Ukraine. The first surprise was the impact of the body in the face of the strange reality. ‘I had never been in a place that had snow until then. I had to relearn how to move, how to stand upright… and all the understanding I had of balance collapsed.’
Túlio Pinto went to Ukraine during winter on purpose, because he wanted to use snow and ice as materials. Better yet, the melting as an instrument to measure time. The resulting works dealt with the material effect of the thermal exchanges and the consequent implication of time in the passages of physical states – that is, also dealing with movement. The photographic language was added to capture the temporality of the pieces, with special attention to the movement observed in the transition of matter from one state into the other. This reminds, therefore, a procedure that is typically connected to the conceptual art.
This is what can be seen in ‘Waiting Room’, which shows two images of what looks like a bunker filled with chairs in rows, aligned like soldiers. In the first image, the set of seats is harmonically inclined to the same direction, because of the ice blocks used as shims. In the second picture, the chairs appear in their regular position on the ground, and the water puddles on the floor indicate that the melting process gave stability back to the set. From the first to the last image, there is a period of 18 days.
Similar proceedings can be seen in ‘Land line # 7’, composed of photographs documenting a metal structure of a cube attached to a large block of ice, which only vanishes when the snow also disappears. Suddenly, by photographing duration phases, Túlio Pinto obtains the effect of a sculpture moving in time-space, starting from the displacement that occurred between mobility and immobility of the materials and structures. In the artist’s understanding, ‘the pieces in Ukraine were developed using photography, but they are installations, using the performativity of objects and materials’, since ‘the ice lasted the time necessary to melt.’
Túlio did not use only ice and snow as material for the pieces. When he arrived in Ukraine, he found processed tar, which immediately caught his attention, for its shape, color and texture. This black and viscous residue, largely used to produce chemical products, and whose main by-product is pitch, was used to create a piece. Better yet, it was directed in order to create a piece.
In ‘Time cut’, a cube of industrially shaped tar is crossed by a metal sheet and then a glass sheet. The artist was interested in verifying the process that would begin from the properties he did not know in relation to the material he was using. It was a surprise to discover that, as time passed, the tar cube became a sphere, indicating that the material has intrinsic characteristics and, because of that, it becomes stable with a displacement of conformation in its geometry, in a very particular way in space-time. Tar was also used in ‘For what’s remained, it’s a matter of time’, which, like the example of the photographic procedure in ‘Waiting room’ and ‘Land line # 7’, shows the four moments of a tar sphere next to a melting ice block.
Together, the pieces from Ukraine – of notice: conducted during the Russian military intervention in the country –, become propositions that reveal the regulations of a sculpting thinking that is not static nor simultaneous, but transitory and successive, connected by spaces-times determined by the materials movements, in a sculpting performativity in their own spaces-times.

Poetics of Unstable and State of Suspension

From its origin, Túlio Pinto’s production takes place as the material elaboration of an idea. That is, something that already exists in his mind, which is then taken into space to be translated into matter. It is, therefore, the practice of a projected thought. Initially, it happened in a somewhat Cartesian and binary fashion, guided by an effort doomed to fail: the attempt at conducting and totally dominating the possible risks and consequences brought by his projects.
‘Trajetórias ortogonais’ (in English, Orthogonal journeys) is, in this sense, emblematic. Exhibited individually in 2009 at the Goethe-Institut in Porto Alegre, the piece was composed by a series of wood cubes (15×15cm each), aligned and in a row by a wall, until they were projected in the space forming an ‘L’. The set remained stable and supported by the weight exerted by a few concrete blocks (130×30×15cm each), vertically inclined, supported ones over the others and pending to one side. Thus arranged, the blocks exerted pressure against the rows of cubes; one row was pressured against the wall and the other seemed to levitate, thanks to the tension system.
‘Trajetórias ortogonais’ would be very meaningful to Túlio’s posterior production, because it offered a conceptual and formal synthesis that would soon unfold: the creation of a sculpting set, arranged according to a mechanism that balances forces in the gravitational space, an aspect that will be part later on of most of his work. This piece brought a series of questions to the author, since it responded in an unexpected way, escaping his initial effort of guidance and control.
During the exhibition, the structure collapsed a few times. In the first, Túlio Pinto considered the fall as a proof that his proposal was unsuccessful. In the following falls, he understood that this possibility – the collapsing, the fall, the disarray, as well as the instability and the risk itself – in fact revealed particularities inherent to his work, thus granting it a possible singularity. After all, it is a kind of ephemeral sculpture, which does not sacralize the object, can be reassembled, and which gets its potency from the instability of the materials and the impermanence of the structure, given that it is acceptable that both can react in different ways based on the circumstance. According to Túlio Pinto, ‘I understood that this was my job, this was the poetry in it, and that it came from the fact that I dealt with limits. It was very important for me to understand my work. I believe that the formal aspect is indispensable, but if you push the material to the limit, to the edge, you need tolerance and flexibility. After I understood this, things started unfold in my work.’
For the piece at Goethe-Institut in Porto Alegre, ‘Trajetórias ortogonais’, all the collapses were registered in images, and these documental images, which offer a testimony of the unstable condition of the sculpting set when taken to an extreme situation, were included in the project, exhibited on the wall by the piece. And what can be said about the movement? In addition to the attractive formal appearance of the arrangement, one of the most seductive aspects of the piece is the annulment situation (or attempt) of the forces capable of causing the collapsing, which Túlio Pinto tries to prevent, even if temporarily, when he makes the set stable, thus managing the tensions hidden in an apparent balance.
In one of its most relevant and disseminated interventions, the book ‘Caminhos da escultura moderna’ Rosalind Krauss argues that the passage to a contemporary sculpture is ruled by space-time crossings, materialized in formal arrangements, and the observer experience is located in a dimension not only in space, but also in time. ‘We are forced, more and more, to talk about time ’, the North-American critic and theorist writes in her 1977 book, adding that ‘(…) even for a spatial art, it is not possible to separate space from time for an analysis. Each spatial organization has in its core an implicit affirmation of the nature of the temporal experience ’. In Túlio Pinto’s artwork, Krauss’s assertive makes it possible to understand a sculpting thought and making that are based on the tension between rest and movement, between captured time and the passing of time, and it is possible to state that it is from ‘this tension (…) that his enormous expressive power comes ’.
This can be seen in ‘Duas grandezas’ (in English, Two magnitudes), an installation presented in 2009 at Galeria Iberê Camargo at Usina do Gasômetro in Porto Alegre. More than an installation, it would be best understood as an intervention related to a specific and determined space (the site-specific). The situation presented with a stretched steel cable throughout a room – an extremity is connected to a fabric fixed on the wall and stretched to its limit, and the other extremity supports a 130kg-steel blade inclined to the ground – which services a state of suspension that builds (and stabilizes) itself using the opposing forces.
Revisited now, ‘Trajetórias ortogonais’ and ‘Duas grandezas’ can be seen as two of the pieces responsible for founding Túlio Pinto’s poetic, offering a synthesis of the artist’s production: the interruption of a fall due to a tension that is precisely balanced, thus annulling the movement forces that threaten to start.

Sculpted Body and in Movement

This kind of ‘synthesis of what is to come’, already displayed there, can be identified in Túlio Pinto’s most recent work, with the pieces ‘Nadir#Escaleno’ and ‘Nadir#Norte-Leste’ (in English, Nadir#North-East), both from 2016. This resonance now unfolds not only because of the conceptual conjugation of the proceedings and the encounter of the materials that migrate among pieces, but especially because of the definitive inclusion of the body in the sculpting action. Therefore, what once was an integral element – the body – now becomes a component.
The two pieces are a consequence of the series ‘Nadir’. What comes into play here is the complexity of the arrays that maintain the glass sheets balanced. If previously they were fixed points attached to the ropes, now it is the body itself – the performing artist Diego Passos – who is explored, in an attempt to lend stability to the set. It is a body wrapped in an outfit created from the ropes, offering as an image something like a communion between materials and the performing body. This is why the structuring of this set is almost completely dependent upon the behavior of the performing artist. The act of remaining static demands an action from this body that is fully invested in the exact measure between force and balance.
If these new parameters are embodied in the image resulting from the photo-performance ‘Nadir#Escaleno’, they are then stretched to the limit in the performance ‘Nadir#Norte-Leste’. Here Túlio Pinto advances in the possibilities developed throughout the series when he explores the passing from the highest level to collapsing. Better yet, the duration between one phase and the other. This in-between is a consequence of the period in which the performing action takes place. The presentation at Festival Mais Performance at Oi Futuro in Rio de Janeiro in October of 2016 was recorded in video. When the curtains open, the performing artist is standing, connected by the ropes to two glass sheets. Before his introduction, we see that the rocks – which seemed to be in static balance in the structures – started moving. With the emphasis on the pendular situation, with the rocks about to break the glasses each time they get close, the work is an action configured in the unpredictability of its duration. For ten minutes, which were set on the clock, the tension created by the sculpting-performance makes the observer somewhat apprehensive and forced to project consequences. And they are finally confirmed (or not) by the performing artist: with a small movement, he breaks the state of suspension, making the instability of the structure the final act in the performance, which takes place in the mentioned passing from the highest level – the balance maintenance – to the collapsing – the crashing of the structure and the breaking of the glass. ‘With the inclusion of the body in the piece, it becomes the matter of the work, a piece of the gearing in the system’, the artist states.
Before, with ‘Transposição’ (in English, Transposition), from 2012, Túlio started developing a corporeal understanding regarding the possibilities of his work. Initially he thought the body not as a mere gear, but as a component of its own raw material. In synthesis, the project involved the transfer of 6,000 blocks of concrete from Praça da Alfândega to Galeria Augusto Meyer at Casa de Cultura Mario Quintana in Porto Alegre. In the action, which had the collaboration of occasional participants, the transportation was made with a cart, with comings and goings throughout 20 days, along the 500 meters that separate the two spaces. At Praça da Alfândega, the stacked blocks formed a large cube. Upon moving them to the gallery, they were disposed on the floor, creating a concrete surface on the floor, over the original flooring. The she formal aspect of this transposition points to the primordial principle of sculpture: the subtraction and addition of matter.
Conducting the many comings and goings with a cart loaded with rocks, Túlio Pinto decided to extend to his own body the notion of limit, which already ruled his production. Thinking of how to conduct a work of art in these terms, he conceived the first project contours, based on long runs and walks that he would undertake next. One of them was ‘CEP – corpo, espaço e percurso’ (in English, BST – Body, Space and Trajectory) from 2013, in Rio Grande do Norte, and the other ‘Migrações’ (in English, Migrations), also from 2013, in Uruguay. Both were produced as a mobile artistic residence, by means of institutional programs. Each with their own singularity, the projects had in common the fact that they are based in the displacement experience of a foreign in the face of a strange landscape and context.
During the journeys, Túlio Pinto was subjected to methods, rules and instructions, thus connecting to a line of the conceptual art. ‘CEP’ and ‘Migrações’ also involve the apprehension of a moving landscape, giving an understanding that it is the artist who is also sculpted by the surrounding and by the passing situation. The artist states that ‘(…) in these pieces, the object is an excuse. What is, in fact, being sculpted is myself. If the relations sculpt us, I can say that my projects sculpt me.’
Túlio Pinto had another project involving displacement in 2015 at the Phoenix Institute of Contemporary Art, this time using a bicycle. With ‘Displaced four times’, he once more used self-imposed methods, rules and instructions as a means to experience the landscape of the Phoenix region from the perspective of movement. The project was developed from the representation of the metropolitan region, establishing displacement routes in the Cartesian grid of a map. The surprise was the large territorial scale that took the artist through extensive lengths in the routes, such as the 150km that separate the extreme point in the West and the extreme point in the East. Just like ‘CEP’ and ‘Migrations’, ‘Displaced four times’ was structured from the experience of the moving landscape, an understanding that also involved the drawings that Túlio would produce, still panting and sweating, during two minutes, at the end of each displacement. The artist states that ‘these drawings were always produced while I was exhausted. That is, my body was unbalanced, unstable; my senses were altered. In these projects, it is as if my internal landscape was altered by the landscape surrounding me. At the same time, I tried to apprehend the landscape that altered me. One thing within the other.’
Throughout the journeys in these projects of displaced mobile residence, the artist produced not only drawings, but also collected objects, registered his actions and the landscape in pictures and shot videos, among other actions and procedures. What these pieces had in common, upon his return or at their completion, was the need to be exhibited. And we reach here the questions that arise from the nature of the artwork created during trips and expeditions: How to presentify and share an experience that resides in the individuality of the artist? What to expose when the work is something between the idea and the accomplishment? How to handle the problem of the material incompleteness of the creative processes which do not end in the creation of objects, let alone in the materiality of the shape? How to transfer the artist’s experience dimension in pieces that are not completely present because of their immaterial character? After all, what is in fact the work and how can it approach the visitors of an exhibition? These discussions are not exclusive to the work of Túlio Pinto, but start in the different contemporary artistic practices based in geographic displacements.
The exhibitions resulting from ‘CEP’, ‘Migrações’ and ‘Displaced four times’ were configured as installations. The materials collected and produced during the journeys – drawings, notes, photographs, videos, objects – were displayed in arrangements that were conceptually formalized in the exhibition spaces, thus connecting to the already mentioned site-specific and in-situ art. Although the formal grammar invoked by Túlio in his sculptures is present there – the mechanisms, the balance and swaying of forces, as well as the suggestions of tension and limit of the materials and the structure – the installations cannot be seen as the whole of his work, but a part of it, a phase materialized in a specific space-time of the exhibition circumstance.
The movement, and it also exists here, is given in an attempt to capture and presentify an artistic experience that took place during a displacement, in passing, always leaving something behind; it is, therefore, already considered past. Túlio Pinto has a precise understanding: ‘The main raw material is experience. It’s in me and it is untransferable.’ The comment supplies an understanding of the installations, in the sense that they can be better understood as a kind of visual archeology of an artistic experience. The artist continues: ‘Certainly there are aspects that will only become known if I tell them. But I would say that there are material indexes that are enough to become work in someone’s mind, from their own fiction. They are all indexes, like a puzzle.’
This thought in regards to the fruition of the observer as an attempt to create meaning by recomposing the itinerary of the artist, gets close to Nicolas Bourriaud’s theory in relation to the usage of traveling in the contemporary artistic practices. In his book, ‘Radicante – por uma estética da globalização’, the French critic places the condition of the wanderer and the semionaut as elements of an esthetics of displacement – the creation of a shape-route –, accompanied by an ethics of displacement – a thought of translation . Borriaud considers several artists, who make use of artistic procedures using movement and its forms (routes, expeditions, maps…), iconography (roads, woods, deserts…) and methods (from the anthropologist, the archeologist, the explorer…).

Physical World Connected with Plastic Force

Commonly, Túlio Pinto’s works invite us to experience them as observers that are present, understanding the physical presence as necessary to contemplate the field of senses. Better yet, the presence as movement in space in works and as an act capable of unchaining an esthetic experience. The understanding of sculpture not only as a tridimensional object that exists in the static space, but also as a tridimensional experiment that deals with movement, finds echo in what the North-American minimalist Donald Judd stated back in 1965 in his classical text ‘Objetos específicos’: ‘(…) The three dimensions are mainly spaces to move .’
As can be attested, movement can be seen in different forms in Túlio Pinto’s work, which always operate a displacement, whether of the materials or the bodies, both from the artist and the observer. From this understanding, it is as if his pieces transferred the initial seduction of the formal arrangement to the balance arising from the precise tension invested in supporting the structures. In this sense, they conduct the emphasis of the look from the structure to the system of forces that keep the mechanism stretched to the limit before collapsing. Being between these two forces is also being in movement.
With experimental propositions that materialize upon connecting the world of physical laws with plastic potency, Túlio Pinto creates specificities to his work in the face of the contemporary production, because of the tense articulations of the two dimensions: the suggestion of precarious balance and the sensation of imminent collapsing. In none of the cases, deleting the force lines that incur over the objects and bodies is an option, since these forces are at work there, stretching themselves as a system that is temporarily solved, even if making use of the same silence of the materials stretched to the limit of the resistance they can withstand. In regards to tensioning, Túlio Pinto attests that it is in the limits that we can experience the unique seduction of being part of the world.