Português
Andréa Hygino works as a visual artist, art educator and teacher. She holds a degree in Visual Arts from the Institute of Arts of the State University of Rio de Janeiro [UERJ] and a Master’s in Visual Languages from the Federal University of Rio de Janeiro [UFRJ]. She attended the engraving workshops at the Escola de Artes Visuais [EAV] at Parque Lage and at UERJ and was a substitute teacher of drawing at the Escola de Belas Artes at UFRJ. He currently teaches at the Instituto de Artes da UERJ and at the independent art spaces of Estúdio Belas Artes and Centro Cultural Lanchonete< >Lanchonete. In 2020, he won the SelecT Prize for Art Education (Education Shirt category), with the project “Emergency Exit”, co-authored with the artist Luiza Coimbra.
Andréa produces from different languages, such as drawing, performance, sculpture and photography, but finds a special investigation in printmaking: the operation of engraving a surface and producing a mark on a support reveals itself as the will to build an archive of inscribed memories. In an interview for the magazine Desvio, the artist comments: “What interests me, beyond the comment on engraving itself, is to rescue these traces of existences that are usually made invisible or erased; to remind and celebrate anonymous people; to tell and archive their stories in fragmented records.” The specifics of the graphic processes of his works, such as repetition, differentiation and mirroring, give rise to a discussion about school training devices, echoing ruled sheets, calligraphy exercises, chairs for right-handers, didactic stamps, among others. In general, Andréa’s work reflects the situation of education and public education in Brazil, and on several occasions finds in student disobedience the necessary place for contestation and creation.
Tipos de comer
from the series Eating Types, 2022
PVC adhesive printing
Polyptych of 18
13 × 20 cm cada
The work is a kind of primer written inside my own mouth – precisely about the tongue, the organ of communication/speech and digestion. Typography is made with alphabet soup noodles. The booklet presents names of foods usually found in basic food baskets. Types of eating it is an open mouth to eat and to speak; a primer against the conditions of starvation and ignorance in our country.
Sem Título
from the series Eating Types, 2022
PVC adhesive printing
Polyptych of 18
13 × 20 cm cada
Sem Título
from the series Eating Types, 2022
PVC adhesive printing
Polyptych of 18
13 × 20 cm cada
Sem Título
from the series Bitten, 2019/2022
Collection of pencils bitten by students
Variable dimensions
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Photo: Pedro Bittencourt
Ensino Superior
2022
Wo
55 × 60 × 209 cm
Higher Education is part of the series of sculptures produced from school desks discarded by schools and universities. Reclaimed furniture undergoes a series of changes in its structure. The resulting forms rehearse disruptive or dysfunctional possibilities while questioning certain aspects of public education in Brazil, such as difficulties in accessing formal education.
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Photo: Wilker Barros
Saída de Emergência
from the series Inadequate Prototypes, 2021
23 × 26 × 61 cm
Ensino Superior
from the series Inadequate prototypes, 2021
Wood
26 × 23 × 42cm
Ambidestra
from the series Inadequate prototypes, 2021
Wood
26 × 23 × 42cm
Escreveu, não leu: o pau comeu
2020
Performance
Museum of Art in Rio [MAR]
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Co-author: Luiza Coimbra
Photos: Rudolf Kurz
Escreveu, não leu: o pau comeu
The two artists position themselves by each side of the library´s glass door in the Museum of Art in Rio. Over the translucid platform, one artist starts the exercise of writing repeatedly the famous Brazilian expression/idiom “escreveu, não leu: o pau comeu” that conveys the idea of unreflected obedience, coercion, while the second copies that mirrored handwriting from the other side of the glass, mechanically, mimetically. In its interface with education, this performance aims to provoke thoughtfulness on the issue of education being understood as a learning process based on purposeless repetition and following of certain rules.
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Photos: Rudolf Kurz
Escreveu, não leu: o pau comeu
2020
Performance
Museum of Art in Rio [MAR]
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Co-author: Luiza Coimbra
Photos: Rudolf Kurz
Sem Título #1
from the series The times we didn’t go to the Moon, 2017/2020
Frottage
Graphite o cotton
53 × 77 cm
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Photo: Gabriel Lopes
Sem Título #2
from the series The times we didn’t go to the Moon, 2017/2020
Frottage
Graphite on cotton
90 × 45 cm
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Photo: Gabriel Lopes
Sem Título #4
from the series The times we didn’t go to the Moon, 2017/2020
Frottage
Graphite on cotton
68 × 53 cm
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Phoy: Gabriel Lopes
“One small step for man…”[Neil Armstrong]
Archive of ordinary, anonymous and daily marks. Footprints made by people who walk down the street in the urban center. Few steps of
common women and men whose existence have no place in the oficials archives and History.
This series celebrates erased existences. It also points out the question: who must be remembered? Who will be forgotten? What group controls the right to memory? What group has been erased from History.
It seems like a palimpsest of drawings and words deposited one by one over time. The Press Proof series is composed by eight school desks’ prints which reproduce all engraving, cutting, etching, incising, or scratching made by students into the surface. Appropriation of desk’s surfaces as ready made wood matrix.
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Photo: Caapiranga Produções
P.E. Janelas
Série Press Proof Series, 2013
Wood engraving
Ink a oriental paper
42 × 60 cm
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Phot: Caapiranga Produções
P.E. Matheus coração
from the series Press Proof, 2013
Wood engraving
Ink on oriental paper
42 × 60 cm
P.E. Pedro Thucca Mary
from the series Press Proof, 2013
Wood engraving
Ink on oriental paper
42 × 60 cm
P.E. Zigue-zague
from the series Press Proof, 2013
Wood engraving
Ink on oriental paper
42 × 60 cm
Cadeira Universitária
2017
Artistic intervention on public spaces with lambe-lambes
Silk-screen on newspaper
Variable dimension
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Co-author: Luiza Coimbra
Photos: George Magaraia
Cadeira Universitária
2017
Artistic intervention on public spaces with lambe-lambes
Silk-screen on newspaper
Variable dimension
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Co-author: Luiza Coimbra
Ph: George Magaraia
Marimbas
2017
Alphabetic stamps , kite string and cerol
100 cm
Marimbas
2017
Alphabetic stamps , kite string and cerol
100 cm
Desenho de pauta à mão livre
2017
Drawing
Blue pen on paper sheets
Variable dimensions
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Photos: Caapiranga Produções
Desenho de pauta à mão livre
2017
Drawing
Blue pen on paper sheets
Variable dimensions
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Photos: Caapiranga Produções
Exercício da destreza
2016
Drawing
Graphite on paper sheet
Polyptych of 70
29,7 × 21 cm
Exercício da destreza
As a left handed artist, I submitted myself to daily exercises of writing with the right hand until both hands handwriting looked alike. The sentence “I must draw dexterously” repeated over and over in notebook sheets is displayed as the copies students are forced to do at school.
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Photo: Caapirangas Produções
Estudo sobre a mesa
2015
School table appropriation
Sculpture | engraving
222 × 41 × 110 cm
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Photo: Karoline Mosinho e Galeria Nara Roesler
Estudo sobre a mesa
View of the exhibition On the shoulder of giants, a Galeria Nara Roesler, 2021
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Fotografia: Karoline Mosinho e Galeria Nara Roesler
Sem título #1
from the series Evanescences, 2015
Top engraving and fingerprint on Hahnemuhle paper
23.5 × 17 cm
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Photo: Pedro Bittencourt