Matheus Freitas (1998) is a visual artist whose research moves between sculpture, design, jewelry, photography, and poetry, with iron as both matter and metaphor. He learned blacksmithing from metalworkers in the Recôncavo Baiano, transforming popular and ancient techniques into a contemporary poetic language.

His practice interweaves memory, spirituality, and critique of the violence that shapes peripheral contexts, always in dialogue with territory. This connection materializes in his investigative methodology called Estudos das Formas, which observes the repetition of cultural, architectural, and urban symbols—as well as the gesture of living itself—revealing them as creative material. The presence of the body, in a state of enchantment, becomes a central element in this process.

Time and its flows run through his works, which merge tradition, experimentation, and insubordination as gestures of redesigning the future.

Brasil sem moldura (2025) is part of the series Corrosão e Cor, dedicated to a critical and contemporary reinterpretation of the Brazilian flag. Produced in steel and stainless steel, the work stems from an experimental process that combines cold forming and metal coloring techniques. The sculptural gesture arises from observing territory, movement, and the speed of Exu Tiriri, revealing through the grooves and textures of the metal surface an energy that moves between the sacred and the urban.

The piece proposes a reflection on the national symbol stripped of the contours imposed by the official narrative. The rigidity of steel and the brightness of stainless steel make visible the contradictions sustaining the country—power, violence, and its underlying structures. Brasil sem moldura is a mirror of a Brazil that insists on structuring itself between matter and faith.