Felippe Moraes was born in 1988 in Brazil. He currently lives and works in Portugal.
Felippe Moraes is an artist, researcher and independent curator. He is currently a PhD candidate at Universidade de Coimbra in Portugal and holds a distinction MA Fine Art from The University of Northampton having been granted the Santander Universities Scholarship between 2011 and 2013.
Monumento ao Horizonte – permanent public sculpture – Caminho Niemeyer – Niterói, Brazil
Progressão (text by Michelle Sommer) – MAC Niterói
Os Elementos (curated by Alexandre Sá) – Centro Municipal de Arte Hélio Oiticica, Rio de Janeiro
Ordem (curated by Adriano Casanova) – Baró Galeria – São Paulo, Brazil
Hipotética (in colaboration with Jonas Arrabal)(curated by Joana Rabelo) – Largo das Artes, Rio de Janeiro, Brazil
Matter – MK Gallery, Milton Keynes, UK
On Becoming – Fishmarket Gallery, Northampton, UK
Construção – Temporada de Projetos
Paço das Artes, São Paulo, Brazil
Orizzonti Del’Uomo (curated by Paula Borghi) – Centro Adamastor, Guarulhos, Brazil
As a result of the KARA 2017 residency award developed in Kooshk Residency in Tehran, three new works have been produced in different medias: Kayhan, a series of 4 large scale photographs, Graph Silk, a series of 3 prints on silk and Harmonices Mundi, a video made in collaboration with the Iranian band Bomrani.
The three works were elaborated from previous interests and investigations endeavored in my artistic practice and put in contact with the intense experience undertaken in the last month in Iran.
The series of four large scale photographs entitled Kayhan (‘cosmos’ in Farsi) establish as the consolidation of a life-long interest in Islamic geometry, its notion of a non-figurative description of the transcendental, and my interest in the idea of cosmos and order in dialogue with chaos, always present in my research as an artist.
The images were produced at the Atigh Jame’ Mosque in Shiraz, in which one of its corridors, presented an outstandingly complex geometry in the process of refurbishment, with no colors and still in the plaster phase with detailed pencils sketches. The work then depicts the pure geometry revealed by the architecture and its profound mathematical relations inherent to it and the spiritual dialogue that they propose, suggesting a timeless and powerful notion of cosmos and transcendence.
The work is also made as a celebration of Persian and Middle Eastern knowledge deliberately forgotten and unacknowledged by the West. In that sense, the series assumes a political intention of dwelling in this strong heritage that is timeless and human in its essence.
The series of 3 prints on silk present the images of different graph papers used for various purposes from technical drawing to wave engineering. Tehran, as being one of the most important places among the historical Silk Road, saw its influence culturally and economically throughout the world increase by the passing of merchants bringing silk and other goods from China. In this work, the use of silk comes as an artifact to discuss the political, historical and poetic understandings that the material assumes in dialogue with the strict procedures promoted by the graphic images that they bring.
The subtle and iconic fabric, with its softness and poetic propositions, clash with the hardness and rationality of the methods proposed by the graphic fields designed for the maximum accuracy of projects undertaken using them as a central tool for design and communication. Nevertheless, the work discusses that the very adjectives used to describe these opposing extremes such as hardness and softness, objective and subjective are in absolute arbitrary and developed themselves by historical and linguistic understandings.
The video Harmonices Mundi, in collaboration with the Iranian band Bomrani, is the result of a three-year investigation over the concept of the Music of The Spheres, mentioned by many civilizations but developed scientifically for the first time by Johannes Kepler in his homonymous book published in 1619. In it, the scientist describes the movement of the six known planets at the time around the sun by composing musical pieces regarding each one of them following a very basic principal: the closer to the sun, the highest the pitch; the fastest the movement, the fastest the tempo.
In the work, each of the six members of the band interpret with different instruments one of the six planets mentioned by Kepler. The video starts with its first act presenting each of the planets individually interpreted by the musicians, starting with Saturn, with its very deep and slow song, and finishes with Mercury with its fast and complex melody, reminding of its closeness to the solar sphere and very elliptical orbit.
In the second act, the planets interpreted by the musicians start with Saturn and gradually sum themselves up. The harmonic relation between the planets develop into a loud and chaotic cacophony and sudden suspension, reminding the mythological and proto-scientific idea mentioned by the scientist that the only moment in which the planets ‘sung’ in absolute harmony was in the creation of the universe.