The mirror - 2019 © Aurino Jottar

The mirror - 2019 © Aurino Jottar



Technique : Oil on linen

200/150 cm


Every tuesday evening, Aurino Jottar strides along Geneva streets with the purpose to collect very specific brands’ paper packaging and also cardboard, sorted by citizens, before Geneva city services collects them the day after at dawn.

Sometimes, He cuts cardboard, sometimes makes it wet,  shapes it, twists it, and after ingenius other steps that require an infinite patience until turning it into beautiful sculptures.

Other times, he burns it following a specific process until he sculpts it using some water and getting a painting.

Street has a strong history in the life of this brazilian artist, who happens to have developped these very creative habits because of lack of money to buy materials,  and not to follow a tendacy. That is the real reason for some different techniques used in the past years, to produce a painting.

For Brands’ packaging materials, the story is different. Aurino focuses on their colour, making Louis Vuitton’s orange, Rolex’s green, Dior’s white , Swarovski’sblue, colours of his palette. Then he incorporates rubbon’s, silk paper and other things as collages into his paintings.

Brands, at the heart of  his work, question on the founding principles of image in our consumption society. While in old civilizations, individuals used random shapes, in order to distingish their property from the others’s, In our contemporary world, this concept has progressed and nowadays, wearing some brands are synonym of banalisation and ostentation.

His icons series for example put on stage key figures of the world like Norma Jeane, Charlie Chaplin, Michael Jackson, Van Gogh, Hamlet, Venus, Karl Lagarfeld, Magritte and others. While getting closer to the canvas, we discover incrustations of logos of different luxury brands. A methodic process construction similar to the one that brings characters to an iconic range in our current society.

His mastery of pictural techniques enables him to execute any painting. But Aurino Jottar is not only an executant, he is a complete artist in all senses, who has this faculty to turn ordinary materials into pieces of art.

Very demanding with his work, possessed, sometimes inhabitted, he has often destroyed paintings not satisfying enough to him, some of them  have been saved just in time for the exhibition. He does not produce just to produce, but because it’s necessary.  He often repeats that for him, « stopping art production means death »



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