RIO DE JANEIRO.- Fortes D’Aloia & Gabriel and Nonada present O Penúltimo Dia [The Penultimate Day], a dialogue-exhibition between Sara Ramo and Matheus Rocha Pitta at Carpintaria, Rio de Janeiro.

Marked by accumulation and multiplicity, the show brings together new and recent works by the two artists, whose pieces occupy the space like a procession, exploring the circularity of the calendar, the recurrence of chronological time, and the rupture represented by carnivals, rituals, and political events throughout history.

In the work of Sara Ramo, represented by Fortes D’Aloia & Gabriel, drawings of cosmic landscapes coexist with hybrids of collage and painting, bringing together fragments of heterogeneous textures and graphic imprints. In the series Por um fio (2025), the artist composes assemblages using torn kites, taking advantage of their chromatic properties, lines, and rods to form geometric structures. Interweaving abstract patterns with figures drawn or cut from other sources, these works create constellations that house disparate signs within a common universe. In her ceramic sculptures encrusted with beads, trinkets, and gemstones, Ramo archives transitional elements in “continents” or urns that preserve something sacred.

Meanwhile, Matheus Rocha Pitta, represented by Nonada, presents developments from his research in ceramics, with new masks and wall reliefs. These works reflect the artist’s interest in transposing bodily traces into sculptural supports, grounded in a conceptual framework that articulates politics and history through the newspaper clippings embedded and encrusted within the volumes. In a large-scale collage, O Ano da Mentira (2017), the artist extracts 365 newspaper photos and arranges them as a panel that compiles time and events into visible traces.

The encounter between Ramo’s and Rocha Pitta’s works generates trajectories, lines, and temporal crossings, with materials that reference different timescales and social contexts—whether through clay, newspaper, fabric, or everyday imagery. In this confluence, the two artists’ repertoires, developed in close dialogue with each other, are fused and transformed as they revisit older works in light of new creations. Alluding to crowds, moving masses, and their symbolic meanings, these two research paths in dialogue create connections through disjunction—whether in matter or in the ideas set in orbit.

The exhibition features an essay by critic and curator Cesar Kiraly