The temporal phenomena between the large gap in living and dying are actions of our senses, of the sensations that embody the cycles, of the emotions that drive the perceptions and experiences that shape our existence. In Primeiras Estórias (First Stories), a series of paintings by Vinicius Gerheim, the spontaneous relations among various kinds of sensations connected by actions of memory, intuition and imagination of the artist are highlighted. The childhoood in the mountains of Minas Gerais, smothered by the atmosphere of extractivism and forgiveness, is designed to refute the fragmentation of life projects carried out by the heteronormative cistem of institutionalities. Eyes that feed and watch over, some bleed before starting to play, others already protect biting. Shapes, rhythms, vibrations, and sympathies compose relations of forces that encrypt their own existence. These are paintings that disrupt the boundaries of the public and private by managing the limits of language and of the self. I feel, as I witness Vinicius' canvases, which are traversed by inked gestures, a call to a deep imbrication with the cycles of life, symbiotic, affected by the constant interconnections that we can feel when we are willing. The end is intensified, the limits are widened, one digs a little more, when one is aware of the purpose of beings and things, living the intervals with greater passion.
¹ Afrotransfeminist and anti-colonial researcher and artist. Graduated in History of Art (EBA/UFRJ) and MA student at PPGCA (IACS/UFF). Collaborator in desculonizacion and CIPEI (Mexico - Brazil).