FARGO 2026 | Feira de Arte Goiás
Luciana Brito Gallery is pleased to announce its participation in the 8th edition of FARGO—Feira de Arte de Goiás, one of the state’s leading art platforms. For the event, the gallery has selected works by artists Afonso Tostes (1965, Brazil), Caio Reisewitz (1967, Brazil), Campana (Fernando Campana, 1965–2022, Brazil), Humberto Campana, 1953, Brazil), Delson Uchôa (1956, Brazil), Gabriela Machado (1960, Brazil), Iván Navarro (1972, Chile), and Rob Wynne (1948, USA).
Wood is central to Afonso Tostes’s practice, both for its symbolic weight and its formal qualities, mobilizing questions concerning sustainability and the environment. In the metal sculpture shown here, from an untitled series begun in 2026, Tostes sets up a counterpoint to his better-known pieces in wood, where he uses found tree trunks and fragments to build compositions marked by instability – an allusion to the imbalance of forests. The gallery is also presenting Árvore pequena (2023), made from paper obtained from discarded books, alongside a group of untitled paintings from 2025. In these works, Tostes uses dust and wood residue from his own production to activate a poetics of reconstructing what has been lost – here, the trees themselves.
The gallery also features two works by Caio Reisewitz. One of a series of photographs taken at the coastal inlet known as Saco do Mamanguá, in Paraty (Rio de Janeiro state), Mamanguá XXII (2013) belongs to Reisewitz’s investigation of remote landscapes that evoke a sense of human absence. The region is known as Brazil’s only “tropical fjord” – an eight-kilometer marine inlet surrounded by mountains of the Atlantic Forest. Imperceptible to the naked eye, the image was captured at night through long-exposure analog photography, using Kodak slide film. Its bluish tone results from reciprocity failure, which occurs when the film’s response to incoming light is no longer in linear relation to exposure time, causing characteristic shifts in color. The work Jacupiranga (2025) derives from the artist’s recent research, developed with Tatiana Gonçales and Allan Yzumizawa, on São Paulo place names. It was produced in the Cananéia region, historically crisscrossed by a vast network of precolonial trails called the Caminho de Peabiru, which connected the Atlantic coast of Brazil to the Pacific Ocean, in present-day Peru, passing through territories that are now part of Paraguay and Bolivia. The route was used by both Indigenous peoples and European explorers.
From Estúdio Campana, Cadeira Teddy Bear marrom (2025) and Puff Netuno (2025) belong to the Banquete collection and continue a line of inquiry the studio has long pursued, in which furniture pieces incorporate unconventional elements – such as plush materials. Drawing on the banquet as a site of encounter, abundance, and sensory pleasure, the Banquete collection is characterized by generous volumes, soft textures, and organic forms. These pieces shift the functional object into the realm of sensory and affective experience, evoking associations with childhood and memory and inviting a tactile, emotional experience. Here, design moves toward gesture, humor, and intimacy, reaffirming the studio’s commitment to reinventing materials and the stories they carry.
A researcher of color, Delson Uchôa takes as his point of departure the distinct luminosity of his region – the coastline of Alagoas. In his paintings, he engages not only the strident intensity of the Alagoas sun and the region’s lush plant life, but also chromatic references drawn from Indigenous featherwork. This interplay between light and matter, evident in smaller works such as Construção I não posso esquecer Mondrian (2022), unfolds in intricate geometric patterns that produce striking optical effects.
Gabriela Machado’s paintings, on the other hand, reveal fragments of her daily life. The scenes, colors, and forms that pass through her days are her primary source of inspiration; since 2017, she has used them to build pictorial narratives with the quality of a logbook. Her larger works, such as Catuaba (2025), open onto a more bodily scale, marked by gestural expressiveness and rapid, organic processes through which the artist externalizes feelings and states of mind.
Light is the central axis of Iván Navarro’s practice, which he uses to address social and political questions and to convey reflections on art history. In light installations such as Square Light (2019), Navarro establishes a direct dialogue with minimalism while activating the viewer’s perception.
Rob Wynne, the most recent artist to join the roster of Luciana Brito Galeria, develops his work through an ongoing process of collecting and recombining memories. Always attentive to his surroundings and to expressions of popular culture, Wynne combines fragments drawn from conversation, literature, theater, and cinema, often turning language itself into the central material of his work. His engagement with glass – a recurring element in his practice – began during a visit to a glassworks. When a ladle he was holding slipped and struck the floor, the molten glass took on a form he describes as a kind of “cosmic explosion.” Following that chance event, Wynne began exploring glass in its liquid state, shaping organic forms that retain the contingent, almost accidental character of their origin.
