OCEANVS was my first major co-creation. Until 2022, I had conceived works alone — from Cachoeira to Floresta Utópica. With OCEANVS, I learned to design spaces in collaboration: Antonio Curti wrote the script for the eight acts, I designed the spatial experience and technical direction that would bring water to the body without wetting the skin.

The work traverses eight moments — Prelúdio, Horizonte, Mergulho, Submersão, Tempestade, Seca, Caos, Vida. Flávio Reis (Audiovisualismo) and João Alencar developed the motion graphics that give body to Antonio’s script, Juvi composed the original score, Matheus Leston programmed the interactive elements that respond to the audience’s presence. I conceived the space as an immersion chamber: six mapped projectors, spatial sound, a floor that reflects the ocean above. The audience enters, lies down, and the sea happens around them.

OCEANVS circulated through Farol Santander in São Paulo (2022) and Casa Fiat de Cultura in Belo Horizonte (2023). It generated byproducts — art objects that isolate frames from the narrative, exhibited at Galeria Luis Maluf and SP-Arte Rotas Brasileiras.

The collaboration with Antonio Curti deserves a record that goes beyond the distribution of roles. The script for the eight acts didn’t arrive as a finished text: it was transformed in the space. Motion, score, and interactive programming didn’t illustrate the script — they interfered with it. What came out of the exhibition room in São Paulo was not the original script. That is what distinguishes co-creation from division of labor.

The circulation to Belo Horizonte changed the work. The architecture of Casa Fiat demanded adaptation — and the adaptation is part of the work, not an exception. The work isn’t about the ocean — it’s about submersion, about letting yourself be taken by something greater than the body can contain.