Oto Ferreira’s (1995) research focuses primarily on wood—both as material and form—evoking aspects of the relocation of ancestral crafts, and their practical and ideological potentials. Woods sourced from construction, pruning, or commercial acquisition become possibilities for the artist’s various elaborations, unfolding into rhythms, colors, textures, and movements.

Simultaneously, Ferreira seeks to develop a critique of hegemonic ideology with references to the sacred, creating forms that enter abstract landscapes while staging and juxtaposing motifs from daily life and Afro-Brazilian sacred traditions.

His pictorial production parallels his sculptural work, generating abstractions through landscapes: color, perspective, gesture, and transparency. He creates persistent yet ethereal forms that counterbalance sculptural materiality.

Time (2025) is part of the series A sagração da primavera, with primary reference to Stravinsky’s The Rite of Spring. The search for a representative form of time here occurs in the parallel between the time of the ritual action and the observer’s time.

The artist notes that Time takes motifs of physical existence within Candomblé terreiros. It is Orisá, also known as Iroko, the tree, an observer of the passage of generations.