The relationship with architecture is a constant reference in the artist’s work. The Sculptures series, stacking of cubic elements installed in the public space, is an example of this. The Architectonic Facts series is an unfolding of these experiences now applied on another scale.

Architectonic Facts are wall reliefs, formed by the accumulation of cubic elements, planes and rectangular or square volumes, with white, black or striped white and black surfaces. Expanding the relations between planes and volumes of the reliefs, the exhibition space also has the walls painted in white, black and striped areas. Doors, windows, corners and columns are elements that are integrated as lines, squares and rectangles in the visitor physical space



“What Architectonic Facts, recently exhibited at the Galeria Nara Roesler (as well as A Sculpture in the Room constructed at the Casa de Cultura Laura Alvim) make clear, however, is that if Eduardo Coimbra chose to emulate architecture, he did so with intentions (in a conventional sense) that are not particularly architectonic. For what these works do is nothing other than deconstruct that which they apparently construct: the architecture, the presence of architecture. How do they do that? By neutralizing one of the most essential elements of architectural discourse – the notion of “human scale”; the idea that, by definition, all the measurements of a building, and of every and any architectonic component, should always refer to the human body.” (Otavio Leonidio)

“That Eduardo Coimbra’s architectonic facts are steered toward another subjectivity and another body is something that is clear when one observes the way in which the artist has been manipulating them since late 2013. At Praça Tiradentes (Sculptures) they presented a typically architectonic configuration. Transported to gallery and cultural centre spaces, they have taken on entirely new configurations, positions and dimensions; they have developed new relationships with the existing floor, with the surrounding walls, with the ceiling that covers them; they have been elongated, flattened, twisted, adulterated. And, as far as I can tell, all this has occurred contrary with the notion of human scale.” (O. L.)