Gokula Stoffel: Um lugar para a cabe莽a
Fortes D鈥橝loia & Gabriel proudly announces Um Lugar para a Cabe莽a [A place for the head], Gokula Stoffel鈥檚 new solo exhibition in S茫o Paulo. The exhibition, featuring works made over the last year, expands Stoffel鈥檚 investigations into pictorial matter and fragmentary approach to figuration.
In an exploratory, process-guided practice, the artist embraces accidents and chance results as co-creators of the paintings and sculptures presented in the show. Whether unraveling a patch of paint to depict an arm or turning a human figure into the image of a landscape, Stoffel is interested in the distortions and upheavals of form and scenery. The swirling, turbulent gestures that make up her shimmering surfaces lead to creatures emerging from a liquefied atmosphere, as in Salso Reino (2025) and Morcego (2025). A range of optical vibrations appear, as a result of the artist鈥檚 incorporation of metallic finishes and iridescent paint in her material repertoire, contributing to the scintillating light effects that appear across different media.
In works such as Espirro (2025) and the floor sculpture Umbigo-Espiral (2024), disparate elements are articulated through collagistic procedures. Although the former is abstract and the latter represents a deconstructed body, both are organized as spirals, a recurrent motif and spatial coordinate in the artist鈥檚 oeuvre. The transformations and constantly evolving character of natural environments are felt throughout Stoffel鈥檚 abstractions and imagery, with synaesthetic currents of feeling awakening according to color, texture or scale. Mem贸ria Olfativa (Olfactory memory) (2025), one of the largest paintings in the show, alludes to this crossing of sensory impressions, conjuring a sense of smell along with the concrete physicality that organizes the composition
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Fortes D鈥橝loia & Gabriel proudly announces Um Lugar para a Cabe莽a [A place for the head], Gokula Stoffel鈥檚 new solo exhibition in S茫o Paulo. The exhibition, featuring works made over the last year, expands Stoffel鈥檚 investigations into pictorial matter and fragmentary approach to figuration.
In an exploratory, process-guided practice, the artist embraces accidents and chance results as co-creators of the paintings and sculptures presented in the show. Whether unraveling a patch of paint to depict an arm or turning a human figure into the image of a landscape, Stoffel is interested in the distortions and upheavals of form and scenery. The swirling, turbulent gestures that make up her shimmering surfaces lead to creatures emerging from a liquefied atmosphere, as in Salso Reino (2025) and Morcego (2025). A range of optical vibrations appear, as a result of the artist鈥檚 incorporation of metallic finishes and iridescent paint in her material repertoire, contributing to the scintillating light effects that appear across different media.
In works such as Espirro (2025) and the floor sculpture Umbigo-Espiral (2024), disparate elements are articulated through collagistic procedures. Although the former is abstract and the latter represents a deconstructed body, both are organized as spirals, a recurrent motif and spatial coordinate in the artist鈥檚 oeuvre. The transformations and constantly evolving character of natural environments are felt throughout Stoffel鈥檚 abstractions and imagery, with synaesthetic currents of feeling awakening according to color, texture or scale. Mem贸ria Olfativa (Olfactory memory) (2025), one of the largest paintings in the show, alludes to this crossing of sensory impressions, conjuring a sense of smell along with the concrete physicality that organizes the composition
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