Rosangela Renno

b. 1962

"Usar algumas palavras que ainda nao tenham idioma (Group R) da Serie Materia de Poesia (Para Manoel de Barros)," 2013

The set of six inkjet prints in colors on Canson Rag Photographique paper laid to aluminum panels, as issued
The first image signed and numbered 1/6 in ink on the label affixed to the frame's backboard: Renno Rosangela; each of the other images initialed and numbered 2/6-6/6, respectively, in ink on the label affixed to the frame's backboard
Sight of each: 29" H x 42.5" W

  • Provenance: Galeria Vermelho, San Paolo, Brazil
  • Notes: Rosangela Renno Gomes, was born in 1962 in Belo Horizonte, Minas Gerais, Brazil. She is a prominent Brazilian artist currently working in Rio de Janeiro. In 1986, Renno received a bachelor's degree in architecture, and in 1987 she received a degree in Fine Arts from the Guignard School. In addition, she authored a thesis for her doctorate in 1997 about the reproduction of photographic negatives from the archives of the Sao Paulo Penitentiary Museum (Fafich, 2017). With the experience of her doctorate thesis, it would be a turning point in her career, where archival photos she found would be a dominant part of her work. Gomes' "work consists of photographic images from public and private archives that question the nature of an image and its symbolic value" (Renno & Takahashi, 1998).

    Renno creates a space where interest arises in the viewer. Most notable is a quote from Renno herself about the purpose of these types of work, "the little stories of the downtrodden and the vanquished" (Renno, 2004). Vilem Flusser, a Czech photo theorist, and Andreas Muller Pohle, a German photographer, and theorist, were the two figures that influenced Renno's decision to recycle photographs. Renno's use of archival media and creating new images "introduces another sphere of connections and reinterpretations as she recontextualizes them, offering us the vision of yet another imaginary universe" (Silverio, 1).

    The current photographs are six digital prints from a more extensive collection of 42 images. The name of this collection is Materia de Poesia. These images are created by the overlay of multiple old slides and influenced by Manoel de Barros, an influential poet in Brazil. With the discovery of these old slides were visual "records of travels, views of cities, people from another time" (Molina, 2010). Renno's development when creating these new images for Materia de Poesia is to use "juxtaposing photographs that would be "garbage" - or, referring to Barros' poetry, Rosangela makes verses from what would be an insignificant element of nature, tiny details," (Molina, 2010).

    Renno's present work is a unique display of archival photography, especially with many different images to create an overlaying product. In addition, the current images were printed in a limited color palette; for instance, some are saturated in red with black shadows to contrast, while some pieces are blue and have a black shadow as a visual contrast. In more detail, the first image's most prominent details are that the background looks like a cathedral, with the pointed arches of the building itself. An intriguing part of this piece is the foreground from a different image used as the overlay: a female wearing a bathing suit. The second image has a background archival photo of the cityscape, the more prominent features being a couple of taller buildings on the left of the image. However, the overlay image looks like a scene inside a building. The third image is a background photograph of the inside of what looks to be an ancient amphitheater, and the foreground overlay is of an ornate gold emblem directly in the middle. The fourth image has a background of a marina with buildings and the main headsail peeking out at the top. Looking at the overlay image, a man on a horse is shown directly in the center of the image itself. When looking at the bottom of the image, there are multiple horse hooves and legs, but the viewer cannot see the bodies of the horse because of the shadow. Renno's fifth image has a background from an elevated perspective of a town filled with buildings with Spanish-style roofing. Looking closer, a lady in the very center overlaps the photograph. The overlay of these two images is fascinating; the city landscape juxtaposes the living beings presented. Lastly, the six images have an industrial scene in the background, an oil rig at the center of the background, and even old oil glass streetlamps are shown. The overlay image is a seated figure smiling inside a kitchen.

    Renno and her body of works have been shown not only
    widely in Brazil but also on an international scale. From Tate Modern, the Museum of Modern Art in New York, the Guggenheim Museum, Museo Nacional Centro de Arte Reina Sofia, and many more. The present images juxtapose the image's relationship with the environment. Deciphering what is happening in these images might not be clear, but "there is a precise sense of where they are heading: out of the frame, into a space beyond the surface where they are supported, into perception itself" (Biennale de Sao Paulo, 1994). Renno's execution of these images allows her audience to reflect on the living world, have a glimpse of the past, and divulge into our instinct of being curious individuals.
  • Condition: Each: Good condition. Framed floating in the frame.

    Each framed under glass: 31" H x 44.5" W x 2.75" D

Accepted Forms of Payment:

American Express, Discover, MasterCard, Money Order / Cashiers Check, Personal Check, Visa, Wire Transfer


Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.

November 1, 2022 12:00 PM PDT
Monrovia, CA, US

John Moran Auctioneers

You agree to pay a buyer's premium of up to 25% and any applicable taxes and shipping.

View full terms and conditions

Bid Increments
From: To: Increments:
$0 $499 $25
$500 $999 $50
$1,000 $1,999 $100
$2,000 $4,999 $250
$5,000 $9,999 $500
$10,000 $19,999 $1,000
$20,000 $49,999 $2,500
$50,000 $99,999 $5,000
$100,000 $199,999 $10,000
$200,000 $499,999 $25,000
$500,000 + $50,000