Artist Julie Oppermann and I will present our (separate) work on Tuesday, March 20th at FAAP. If you happen to be in São Paulo, do join us! R.S.V.P information is at the bottom of the invite below.


Several people have asked why I haven’t used any photographs of T-Roe on this blog (although there are several pixalated photos in the above banner).

I’ve thought much about it: whether or not he’d want it, how it could be read, how/if it would further the project.  And I realize that posting photos of my brother here can be read as using his image as a material. It isn’t my wish for him to be seen merely as a guy in prison with this tough face and strange uniform, not to mention the longevity of images released on the web. He will get out one day and, hopefully, he won’t be someone serving time any more. In a way using his image would put a sort of end to curiosity. The viewer would know what he looks like, might make certain conclusions about his personality, past experiences, convictions, dreams. And maybe, in turn, that would somehow influence me, and I’d really prefer to keep an open mind.

Urbanist and curator, Paulo Miyada, came by Casa Tomada a few weeks ago to visit. He brought up some interesting points when talking about “Sorry I haven’t written in so long,” namely:

  • “Complo”- which in English means a “conspiracy, plot, coup between two or more people”. Paulo remarked that the term could possibly be used to describe the communication/collaboration between T-Roe and I.

I thought, “a conspiracy toward a new way of interacting.”






I meet with independent curator and Photo-Festival’s director, Yasmina Reggad, last week. We had an intense and thought-provoking discussion about my work with T-Roe, and Yasmina had some great questions for me.

Here are some of the things we talked about:

– looking at artists who sent instructions to other artists and galleries to make works.  (Sol Lewitt, Helio Oiticica).

– T-roe’s role is in our collaboration and the issue of authorship

– Détournement

– return to my aritstic process

 -Mohamed Bourouissa