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Collage

Double–sided collages

Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm
Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm
Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm
Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm
Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm
Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm
Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm
Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm
Hudinilson Jr. Untitled, 1980/2009, collage on paper, double–sided, approx. 31 x 46 cm

Collage on paper
Double–sided, approx. 31 x 46 cm

  • INDEX:

Hudinilson Jr.

Cadernos de referencia
Xerography
Xerography collage
Collage
Photography
Sculpture
Out–Door / Art–Door Projects
Works on paper
Woodcuts
Lettering Signs

Hudinilson Jr. (1957–2013, São Paulo, Brazil) was an important influential yet underground figure in Latin American art since the late 1970s and 1980s. Through his captivating oeuvre of performances, artist books, extensive Xerox assemblages, textile works, billboards and sculptures, the artist operated at the intersection of the intimate and the public sphere.

Hudinilson Jr. began to experiment with xerography in the late 1970s, a medium that would become central to his practice — not only because of its immediacy. Alongside Rafael França and Mario Ramiro, he co-founded the artist collective 3NÓS3, gaining access to photocopying machines at the University of São Paulo. These machines, as part of a larger modernization initiative by the military government, provided him with the tools to manipulate, fragment, and abstract bodily images, pushing self-representation to its limits.

His artworks explore representations of bodies, including his own, making visible both self-perception and external observation in a very factual, yet poetic language. Hudinilson Jr.’s engagement with the photocopy machine, performance and collage became an act of personal and artistic resistance, highlighting themes of identity, collective memory, and the socio-political realities of Brazil’s recent histories. His body of work presents experimental forms of 'seeing' oneself and others, making them visible. Desire, intimacy, and sexually charged modes of observation become tangible.

His work has been presented in major international exhibitions such as the 16th Lyon Biennale (2022), Glasgow International (2014), the 31st São Paulo Biennial, United by AIDS at Migros Museum (Zurich), Histories of Sexuality at MASP (São Paulo), and The Matter of Photography in the Americas at Stanford University. Solo exhibitions have taken place at the Pinacoteca do Estado de São Paulo, the São Paulo Cultural Center, and Scrap Metal Gallery, Toronto.

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