Untitled
Untitled
Untitled
Untitled

Antonio Tarsis

Untitled, 2023176.5 x 156 x 6cmSign in to view price
Details
MaterialGallery
guarany fósforos de segurança matchbox balsa wood and paperCarlos/Ishikawa
Description
Human-crafted. AI-refined.

This abstract artwork features a grid-like composition of small, rectangular wooden blocks arranged in a complex, undulating pattern. The predominant colors are warm tones of beige and pink, creating a visually cohesive and textural surface. The precise placement and varying orientations of the blocks suggest an intentional exploration of light, shadow, and spatial relationships. The artwork's minimalist yet meticulous approach reflects the artist's focus on materiality and the manipulation of simple, geometric forms to evoke a sense of depth and movement. This piece exemplifies the artist's signature style, which often incorporates natural materials to investigate the interplay between order and chaos in visual perception. ...

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Antonio Tarsis
Artist
Antonio Tarsis
B.1995, Brazilian

Antonio Tarsis has been using matchboxes as source material for his wall-based compositions for almost a decade. Within the lexicon of contemporary Brazilian art, this object is significantly present in works by such renowned artists as Lygia Clark, Fernanda Gomes. In Tarsis’ work, however, this object becomes entangled in a whole new web of social and material meanings that open up other layers of interpretative and sensorial possibilities to this existing visual trope. Having grown up in extremely impoverished conditions in his hometown of Salvador and unable to afford art materials, the artist started collecting matchboxes discarded by the crack users that were ubiquitous in his neighbourhood. This simple, almost pre-industrial object, is also still prevalent in households across the country, where often old-style cookers lack an ignition button. Tarsis is indeed interested in the social and cultural meanings attached to this material, but he is equally drawn to its formal qualities. Since the outset, the artist has tirelessly investigated and tested ways of pushing certain properties of the material in order to create extremely intricate grid-like compositions that combine rigour and improvisation. In some cases, he explores the natural discolouration of the matchbox surface when exposed to sunlight, with each individual object reaching a slightly different hue which is made perceptible when hundreds of matchboxes are placed side by side in a composition. In any case, the matchboxes are never simply used as a readymade, but rather taken apart and subjected to a labour-intensive process of preparation that involves a great deal of trial and error. In his recent works, the painterly qualities of the compositions reach a new degree of complexity and sophistication. The subtlety and rigour of some of these pieces is sometimes evocative of the work of Agnes Martin, while the more ‘expressionist’ grids made of wood chips are reminiscent of fellow Brazilian abstractionist Antonio Bandeira’s works. Other works can be described as wall reliefs, three-dimensional volumes where thousands of matches jut out of the picture plane forming tactile mass in various shades of brown, almost like an abstract pointillist painting. In each of these works, a different technique of dissecting, arranging, pigmenting the matchboxes and matches is employed to create surprising results that tap into the long history of the grid in modern art without giving up the significant history of the material itself. Tarsis has also recently developed a new series of floor sculptures first shown in São Paulo earlier this year. Titled Recipe for Disaster, these works refer to improvised cooking devices often built by people affected by homelessness or forced displacement. In some iterations of the series, the containers placed atop of these precarious assemblages are filled with industrialised sweets which can be taken by the public. Here Tarsis brings again the idea of fire – implicit in the matchboxes and pieces of charcoal that populate his compositions – as a creative and destructive force; this time bringing together the over-processed foodstuff as an index of advanced capitalist consumerism, and the precarious survival tools we may have to embrace once we all become climate change refugees. (Antonio Tarsis: The Fire Next Time, by Kiki Mazzucchelli, 2023) ...

Antonio Tarsis: Artworks
MP-RJ (OP) (Symbolic Genocide Series)
Antonio Tarsis
MP-RJ (OP) (Symbolic Genocide Series), 2021
160 x 100 x 4.5cm
MP-SP (Symbolic Genocide Series)
Antonio Tarsis
MP-SP (Symbolic Genocide Series), 2021
63 x 53 x 2.5cm
Linha do Horizonte
Antonio Tarsis
Linha do Horizonte, 2021
164 x 124 x 4.6cm
MP-BA (Symbolic Genocide Series)
Antonio Tarsis
MP-BA (Symbolic Genocide Series), 2021
60 x 50 x 2.5cm
Mining V
Antonio Tarsis
Mining V, 2021
42.1 x 34.1 x 4.4cm
O céu em pedaços (Sky in pieces) I
Antonio Tarsis
O céu em pedaços (Sky in pieces) I, 2021
164 x 124 x 4.6cm
O céu em pedaços (Sky in pieces) III
Antonio Tarsis
O céu em pedaços (Sky in pieces) III, 2021
170 x 124 x 4.6cm
O céu em pedaços (Sky in pieces) IX
Antonio Tarsis
O céu em pedaços (Sky in pieces) IX, 2021
167.5 x 131.2 x 6cm
Untitled
Antonio Tarsis
Untitled, 2021
28 x 25 x 3.6cm
Untitled
Antonio Tarsis
Untitled, 2021
41 x 33 x 3.6cm
Untitled
Antonio Tarsis
Untitled, 2023
176.5 x 156 x 6cm
Untitled
Antonio Tarsis
Untitled, 2023
55.2 x 56.2 x 5cm
Untitled
Antonio Tarsis
Untitled, 2023
113.3 x 113.3 x 6cm
Untitled
Antonio Tarsis
Untitled, 2023
103 x 112.5 x 8cm
O céu em pedaços (Sky in pieces) XIV
Antonio Tarsis
O céu em pedaços (Sky in pieces) XIV, 2023
65 x 65 x 5cm
Untitled
Antonio Tarsis
Untitled, 2023
65 x 69.3 x 5cm
Untitled
Antonio Tarsis
Untitled, 2023
69 x 74 x 5cm
Untitled
Antonio Tarsis
Untitled, 2023
100 x 94.2 x 5cm
Untitled
Antonio Tarsis
Untitled, 2023
47.5 x 56.5 x 5cm
Untitled
Antonio Tarsis
Untitled, 2023
69.5 x 71.5 x 5cm
Untitled
Antonio Tarsis
Untitled, 2023
61.6 x 61.5 x 6cm
Untitled
Antonio Tarsis
Untitled, 2023
133 x 144 x 5cm
Untitled
Antonio Tarsis
Untitled, 2024
154 x 149.5 x 6cm
Untitled (Landscape)
Antonio Tarsis
Untitled (Landscape), 2024
139 x 184 x 5cm
Untitled
Antonio Tarsis
Untitled, 2024
81 x 83 x 5cm
Untitled
Antonio Tarsis
Untitled, 2024
52 x 62.5 x 5cm
Untitled (Leaf)
Antonio Tarsis
Untitled (Leaf), 2024
61.5 x 62 x 4cm
Untitled
Antonio Tarsis
Untitled, 2024
104.5 x 82 x 8.5cm
Untitled (From the Ashes)
Antonio Tarsis
Untitled (From the Ashes), 2024
83 x 92 x 5cm
Among the Ruins, Silence (Green)
Antonio Tarsis
Among the Ruins, Silence (Green), 2025
134.5 x 151.5 x 6.5cm
Untitled
Antonio Tarsis
Untitled, 2025
41.5 x 33.5 x 4cm
Untitled
Antonio Tarsis
Untitled, 2024
133 x 161 x 7.5cm
Untitled
Antonio Tarsis
Untitled, 2025
47.5 x 44.5 x 5cm
Carlos/Ishikawa
Gallery
Carlos/Ishikawa
London

Founded in 2011, Carlos/Ishikawa’s program is dedicated to considered and ambitious exhibitions that offer diverse artists’ perspectives on structural, socio-cultural, and political questions. The program focuses on international artists with often wide-ranging, multi-disciplinary and experimental practices. There is an interest within the program of challenging the aesthetic conventions of conceptual art, and a focus on art that is able to operate on an affective, emotional level as well as a rigorous intellectual one. The gallery has offered many artists their first solo show, many of whom have gone on to receive recognition internationally. ...

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