Sculptures is a series of works formed by the stacking of several cubes with different sizes: 2 m, 1 m, e 0,5 m. Without two frontal faces, the cubes have spaces inside to be occupied by the public, inviting visitors to create paths within, between and over the elements. The faces of the cubes can be entirely white, black or striped in white and black. Depending on the space where it will be installed, the Sculpture can take many forms and count on different amounts of elements.



“In the two Sculptures (Praça Tiradentes, Rio), the landscape merges into the work. The entire surroundings are activated by the sculpture on account of the simple fact that it is a structure which is traversed by the eye. Its volume is “filled in” by emptiness, which in this case is the spectator’s very space of appropriation and experimentation. Then the sculpture is shaped by such dissimilar acts as transforming itself into a room or becoming a support for playing. It is the moment when the social and political space merge, simultaneously revealing one of the most significant contributions that Coimbra’s work offers to the art repertoire.” (Felipe Scovino)

“Eduardo Coimbra’s first incursion into the field of metaphysics of architectonic presence occurred in September 2013, when he erected (in the Praça Tiradentes, in downtown Rio de Janeiro) two sculptures of eminently architectonic character. I am not referring solely to the fact that they resembled prismatic shapes of functionalist architecture; not that their dimensions corresponded to those of a small building. I am thinking, above all, about how their spatial units or cells (defined by partially hollowed cubes) as a rule emulated typically architectonic spaces; how their basic constructive elements also matched the most elementary components of architecture: floor, wall and ceiling; how it all seemed to be designed and moulded to shelter all those people who, at any time of the day or night, would feel at ease, or even the need, to enter those spaces and lie down, rest, sleep.” (Otavio Leonidio)