Daniel Jorge (1991) is a visual artist whose practice is built upon the interweaving of body, territory, and reminiscence. Raised in the alleys of Rio de Janeiro and currently living in Salvador, he understands his geographic trajectory not only as biography but as a creative method.

He works with sculpture, installation, performance, and drawing, taking barter as a central gesture — a relational technology that operates between memory and history. His works incorporate negotiations among materials such as soapstone, oxidized iron, tanned leather, and charred wood, evoking popular crafts and bodies made invisible by official discourse.

Jorge creates sculptures that invite the exercise of subjectivity through the tension between time and space, weight and movement, matter and relation — operating as flags or symbolic landmarks of new peripheral and rural imaginaries.

In don’t rush, rust (2024), the sculpture emerges as a body of exchange—not only between materials, but between presences.
Rust becomes a veil: a tactile surface that refuses reflection and chooses shadow as a form of permanence. Opacity asserts itself as a political gesture, a layer of protection that echoes bodies hidden in the interstices of time. The iron, as a material that slowly changes color from oxidation, begins to create its own language.

The work is composed of orbital movements. Slow as Saturn’s rings, the parts revolve around themselves in a silent gravity. Between touch and disguise, the sculpture-body reveals and conceals itself. Thus, with each rotation, it negotiates its right to remain.