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Casa Triângulo is pleased to present Dois Infinitos, Sandra Cinto’s eleventh solo exhibition at the gallery, bringing together a new body of work that deepens central concerns in her practice: displacement, horizon, crossing, and the poetic construction of space. The exhibition will be accompanied by critical texts by Josué Mattos and Priscyla Gomes.
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There is a celestial choreography that gives rise to dawn at the end of the darkest nights. As the Earth rotates on its axis, it sets the hours in motion, making the Sun’s light – though ceaselessly radiated – available to us only at intervals. Where the Sun is present in one part of the planet, dark night falls in another, calling forth radiance and withdrawal in succession. Bound to implacable time and to the cadence that expands space, these principles are inscribed in the gestures Sandra Cinto has cultivated for more than three decades – a force that pulses in keeping with the very rhythm by which the cosmos breathes.On her own skin, on walls, and on other surfaces, the artist unsettles the distinction between inside and outside, treating her nexus of elongated lines – which allude to watercourses cascading down from the summit of rocky outcroppings – as an inner space that presses toward the infinite expansion of the universe. In Dois infinitos [Two Infinites], inside-outside, light-shadow, space-time, and sleep-wakefulness are the elements through which she traces the common bonds among all manifestations of life. More than alluding to the star without which terrestrial life would be impossible, the gradation of yellows in Grande Sol [Great Sun] opens onto the inner space of every living being, growing like the universe itself with each exhalation.
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A primeira luz, 2026 -
As one of the two infinities in Sandra Cinto’s work, yellow reaches its apex in resplendent gold, perceived as the radiant center of relations between the intimate and the universal. In her project for a chapel of refuge, composed of eight canvases installed in a semicircle, the golden backdrop of the interior is marked by gestures that resemble silent prayers. Across it, lines descend through rock formations and mountains, establishing kinship among nature’s sacred manifestations. Capela do infinito [Chapel of Infinity] unfolds in two parts: one, made of gesture, is a place of mist, sea spray, rain-laden clouds, twilight, and the density of darkness; the other, an inner part, is the warm force that makes springs gush forth, sends tributaries outward, and expands into constellations and genealogies. For the artist, inside and outside reflect the two infinities: the mother, the father, and those who came before; water, earth, and vital diversity; birth, disappearance, and the continuity that endures beyond the visible.Her other color for infinity is blue, in variations of cerulean and cobalt. These hues establish meditative environments grounded in the stability of rock and the mountain’s fertility, evoking construction and constancy – both feminine nouns in Portuguese – through which the artist creates sensitive territories traversed by surfaces and horizons that bring the real and the dreamlike, stability and fluidity, into relation.Where blue meets gold, darkness emerges to set off glittering constellations, cosmic circles, and stardust. In the interweaving of the two infinities that marks cycles of emergence and disappearance, it is worth keeping in mind that what disappears does not cease to exist. Just as virtually every form of energy can be converted into heat or cold, Dois infinitos contemplates beauty and astonishment born of the same enigmatic, sacred origin.
Josué Mattos
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Antes da chuva, 2026
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A chuva, 2026
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Aurora, 2026
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Amanhcer, 2026
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O Sol, 2026
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Dois infinitos, 2026
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Paisagem Sol, 2026
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The exhibition is configured as a field of tension between two infinities. At one pole, a deep blue, nocturnal and withdrawn, thickens the landscape and turns it in on itself. At the other, a luminous gold, open and expansive, projects the image outward and dissolves it into the horizon. Between these poles, the painting finds nowhere to settle: it vibrates, alternates, shifts. A kind of respiratory cadence runs through it, a continuous movement of contraction and expansion.The rocky peaks and restless ocean waves harbor a vital rhythm. Cinto’s imagined landscapes are also an inner sea, a flow of emotion and memory. Immensity, as Bachelard reminds us, is not measured, but lived. And perhaps it is in this gesture – of opening space to the imagination – that the work takes place: as a sensitive architecture in which drawing, painting, and experience are interwoven, and in which the gaze, upon getting lost, encounters its own vastness.Priscyla Gomes
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