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Sandra Cinto leads guided tour of “Two Infinities” Saturday

Sandra Cinto leads guided tour of “Two Infinities” Saturday

A never-before-seen circular screen at the gallery’s center. Sandra Cinto personally walks visitors through her 11th solo show at Casa Triângulo on April 11.

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This Saturday, April 11, at 3 p.m., Sandra Cinto leads a guided tour of “Two Infinities”, her 11th solo exhibition at Casa Triângulo in São Paulo. The artist will speak directly about the themes and creative process behind the new works on view, which deepen questions at the core of her practice: displacement, the horizon line, crossing, and the poetic construction of space.

A screen that dissolves boundaries

At the heart of the main gallery space stands a large circular screen — created specifically for this exhibition — inviting visitors into a moment of contemplation of both spatial and inner infinities. Historically associated with passage, protection, and delimitation, the piece gives concrete form to the artist’s research into unstable borders and imaginary territories.

The circular structure amplifies the sense of continuity and cycle, dissolving any notion of beginning or end. Throughout her work, Sandra depicts the sea, the sky, and the horizon line as recurring metaphors for transition and uncertainty. Here, the screen operates as a synthesis of her entire practice: simultaneously expanded drawing, painting, and architecture.

Gold as a symbolic field

Gold, a recurring presence across Sandra Cinto’s body of work, carries dense symbolic weight: it evokes the sacred, the infinite, and the idea of permanence against the fragility of the landscapes she builds. Additional works in various formats expand the exhibition’s atmosphere, reinforcing the connection between repetitive gesture, imaginary landscape, and spatial experience.

A practice built on monumental scale

Over the course of her career, Sandra Cinto has created sweeping mural interventions in which seas, skies, and horizons inhabit entire architectural spaces, expanding the gesture of drawing far beyond the traditional support. Permanent installations can be seen at the Teatro Cultura Artística, the Itaúsa building on Avenida Paulista, and the pool area of the Hotel Rosewood São Paulo, as well as in the United States, Spain, Thailand, and Japan.

The exhibition features critical texts by Josué Mattos and Priscyla Gomes. Admission is free.

The screen acts as a synthesis of her practice: simultaneously expanded drawing, painting, and architecture.


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