Fernanda Gomes refines a radical poetics of remainder, assembling everyday materials—wood offcuts, string, tape, dust—into site-specific constellations that recalibrate perception. Her works stage a near-invisible theater of adjustments, where placement, interval, and light become primary media. In dialogue with Brazilian Neo-Concrete sensibilities, Gomes insists on contingency over composition, treating the exhibition as a living ecology responsive to architecture and time. The result is a phenomenological minimalism: fragile yet exact, anti-spectacular yet acute—an ethics of attention.
