Marinho, Jaildo

Marinho’s work explores the concept of emptiness, using geometric forms and a predominantly white palette, occasionally punctuated by vibrant colors. His early series, such as “Diagonal Lines” and “Oblique Lines,” featured rectangular paintings with hollowed-out centers activated by stretched strings. His “Saucers,” rounded marble pieces with textured surfaces, were followed by modular “Squares,” often forming monumental installations. The “Shuttles,” with convex surfaces and circular perforations, reached their full expression when suspended in space. Drawing from European geometric abstraction and Brazilian neo-concretism, Marinho’s work integrates elements from his native Brazil, an influence made explicit in installations such as Cristalização (Museum of Modern Art, Rio de Janeiro, 2017) and Origen (Multiarte Gallery, Fortaleza, 2018).

In 1993, Marinho moved to Paris, where he later became a French citizen in 2009. There, he taught at ADAC – Atelier de sculpture et de fonderie d'Art de la Ville de Paris. His Paris years were marked by significant encounters with South American artists such as Jesús Rafael Soto, Carmelo Arden Quin, Narciso Debourg, and Cícero Dias. Marinho has held solo exhibitions at institutions like the Museum of Contemporary Art in Pernambuco (2002), the Pinakotheke Cultural in Rio de Janeiro (2012), and the Maison de l'Amérique Latine in Paris (2012).

Since 1996, he has exhibited extensively in Paris, participating in the Salon des Réalités Nouvelles and earning recognition in France and abroad, including the Mahares Festival gold medal (Tunisia, 1995) and the Malta Biennial Sculpture Award (1999). His work is part of public collections worldwide, including the Museo de Arte Latinoamericano de Buenos Aires (Argentina), the Satoru Sato Museum (Japan), and the Museo de Arte Contemporaneo Francisco Narváez (Venezuela). He lives and works in Paris.