Self-taught artist born in São Paulo in 1977, he has developed his practice through an informal education deeply connected to

public space and to the dynamics of direct artistic circulation. From childhood, he was immersed in a context of production

and exhibition outside institutional frameworks, accompanying his mother, the visual artist Maria do Carmo Govêa, in the

sale and presentation of her paintings at Praça da República, a traditional meeting point for artists in downtown São Paulo.

This early experience marked by the weekly installation of artworks, direct engagement with the public, and the occupation

of urban space as a legitimate site of exhibition constitutes a structural axis of his artistic practice.

Still a child, he began producing paintings alongside his mother, absorbing not only technical procedures but, above all, an

understanding of art as an active presence in the city and as a practice of exchange. In early adolescence, this interest

intensified through his social circle and the visual references of urban culture. Languages such as skateboarding, graffiti, and

surfing — at that time still highly marginalized and positioned outside institutional circuits began to influence his aesthetic

and his critical stance toward traditional models of artistic legitimation. The absence of formal academic training in the arts

thus became a constitutive element of his language, grounded in autonomy, experimentation, and the construction of a

singular visual vocabulary.

His work gained visibility through urban interventions carried out in Florianópolis, where a recurring triangular-headed

character emerged a figure that moves across different media and scales. This character operates as a symbolic device that

activates questions related to identity, anonymity, and displacement, establishing a direct dialogue with urban architecture

and with the viewer outside the traditional exhibition space. 

Following these interventions, his work expanded into other fields of circulation, including an experience within the advertising sector,

when he was invited to develop a national campaign for Banco do Brasil, later interrupted by the artist for ethical reasons. Although

brief, this episode reaffirmed his commitment to an independent artistic trajectory and reinforced the coherence between his practice,

discourse, and critical positioning.

Active professionally for approximately two decades, he has developed an internationally circulating body of work. In 2011, he undertook

an artist residency and held an exhibition at the Museu de Arte Moderna de Chiloé, in Chile, marking the beginning of his institutional

presence outside Brazil. Since then, he has participated in solo and group exhibitions in cities such as Barcelona, Berlin, Paris, and New

York, in addition to producing murals in countries including Indonesia, Spain, Morocco, Uruguay, and the United States.

In Brazil, highlights include his participation in a group exhibition that intervened in the windows of the Pinacoteca de São Paulo, in

dialogue with the collective Crew 2000Família, as well as the creation of a permanent mural at the Centro Integrado de Cultura (CIC) in

Florianópolis. His most recent solo exhibition took place between 2023 and 2024 at the Consulate General of Brazil in New York.

His work is part of internationally significant private collections, including that of the Portuguese company EFCIS S.A. and Spanish

collector Jordi Rubio Rocabert, founder of Montana Colors (MTN), reaffirming the presence of his production within diverse

institutional and collecting contexts.