Peculiarly, the original hoarding had a painterly quality, reminiscent of Kasimir Malevich, or even Mark Rothko’s abstract markings. This is because, over time, the “walls” of the hoarding accumulated delicate layers of graffiti, scuff-marks, and paint which formed interesting motifs. They represent forms of ongoing exchange in public space, of divergent discourses, resulting in images that we could call “incidental found paintings.” This will be reinforced by the inclusion of a long row of slightly more formal paintings by Aquino, which will be produced as a “shadow” to the hoarding structure.
Eduardo Aquino’s work fluctuates between public art and an experimental approach to representation, often using cues from the urban space. He graduated in Architecture and Urban Studies in Brazil and holds an MFA in Open Media from Concordia University, Montreal. A Professor at the Faculty of Architecture, University of Manitoba, he is a recipient of a National Award from the National Arts Foundation in Brazil, and a National Urban Design Award from the Royal Architectural Institute of Canada.