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Interviewed by Vera Pedrosa [Martins de Almeida], sculptor Frans Krajcberg discusses the changes that have occurred in his work since his arrival in Brazil (1947), where he settled. He states he went through a “concrete” phase in the 1950s until he opened up a dialogue with nature, a theme which would leave its mark on the rest of his production. Krajcberg confesses that “he had to free himself from expressionist influence,” so that he could clarify his work processes through natural elements.

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Entrevistado por Vera Pedrosa, o escultor Frans Krajcberg relata o curso de sua obra, desde a chegada ao Brasil, em 1947, passando por uma fase "concretista", até o diálogo com a natureza que iria marcar o restante de sua produção. O artista conta, também, que precisou "se livrar da influência expressionista", além de esclarecer processos de trabalho com elementos naturais.

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Polish immigrant Frans Krajcberg (b. 1921) settled in Brazil, where he developed art works that establish connections between art and ecology. In the 1970s, due to the creation of the Trans-Amazonian highway, both were directly affected by the indiscriminate cutting and burning of vast forested areas. His work during that era is extensive and makes use of re-tasked burnt branches. During one of his trips, accompanied by French critic Pierre Restany aboard the boat of Sepp Bandereck, the Belgian businessman based in Brazil, the three jointly wrote the “Manifesto do Naturalismo Integral ou Manifesto do Rio Negro” [available in the ICAA digital archive (doc. no. 1111358). For additional information, see regarding the artist: by Ângela Abreu, “Ao encontro da natureza” (doc. no. 1111075); and by Ligia Canongia, “Frans Krajcberg” (doc. no 1111379)].


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Frans Krajcberg, polonês imigrado para o Brasil, tem sua obra marcada pelo elo entre arte natureza e ecologia.


e - Arte e meio ambiente

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Equipe Brasil: Guilherme Bueno
FAPESP, Sao Paulo, Brazil
Escola de Artes Visuais do Parque Lage