SHIKEBANA | 2019
From the Japanese shi: death; and ikebana: giving life to flowers.
The flower, in its ephemeral life, is always waiting for a pollinator, waiting for the rain. Finally, one day, someone approaches, filling the flower with hope. Like a voracious predator, we tear the flower from the ground. Part of a beautiful arrangement at the center of the table, colorful and aromatic, but less alive, ironically, the flower continues to wait.
Everything is ephemeral.
Everything will die.
Everything will be forgotten.
Chaotic Good. UB Art Gallery, Buffalo, USA · 2020
Times of Uncertainty: Felipe Shibuya on Chaotic Good. Boston Art Review · 2020
The Chaotic and Good Two Thousand and Twenty. Cornelia · 2020
SHIkebana. How can we practice radical hospitality? · 2019
EXISTENCE | 2018
I created an inert environment based on my own senses, through a set of fragments that shape parts of my body. In each of these fragments bacteria from the corresponding body part are grown. This aggregates the living dimension of the author’s existence to each fragment of the composition. In this atmosphere of perceptions, especially visual and olfactory, it becomes possible to cross the barrier of existence, allowing the creator, even if absent, to continue to exist in his work. The reflection in the mirror invites to question about who we are and how far existence can go.
Palimpsesto. Museu Municipal de Penafiel, Penafiel, Portugal · 2020
Raízes. Faculdade de Belas-Artes da Universidade de Lisboa, Lisbon, Portugal · 2019
Raízes. Biblioteca Municipal José Saramago, Odemira, Portugal · 2018
Montras. Cultivamos Cultura, São Luís, Portugal · 2018
DENDROCHRONOLOGY OF UNITED STATES IMMIGRATION | 2018
Immigrants are central to the identity of the United States, the population of which has grown in number and diversity as a function of new arrivals from around the globe. This work is a visualization project leveraging arboreal visual metaphors to explore the contribution of immigrants to the country’s population. Immigrants and native-born persons are represented and differentiated as cells in trees, with layered annual rings capturing patterns of population growth. These rings register, in their shape and color, certain environmental conditions. In order to mimic the natural process by which growth rings are formed (the science of which is called dendrochronology), this project devises a computational system that generates tree rings as if cells were data-units.
Collaborative work with Pedro M. Cruz, John Wihbey, and Avni Ghael (Northeastern University).
Seeing Numbers. Brickbottom Artists Association, Somerville, USA · 2020
Who We Are. Museum of the City of New York, New York, USA · 2019
III Trans-disciplinary & Trans-national Festival of Art & Science. University of Toronto, Toronto, Canada · 2019
II Trans-disciplinary & Trans-national Festival of Art & Science. School of Visual Arts, New York, USA · 2018
Naturalizing Immigration. Northeastern Center for the Arts, Boston, USA · 2018
Mapping Worlds. Spaceus, Cambridge, USA · 2018
IEEE VIS 2018 Arts Program. Berlin, Germany · 2018
Presente Futuro. Design Para a Mudança. Museu do Design e da Moda, Lisbon, Portugal · 2018
A new way of seeing 200 years of American immigration. Citylab · 2018
This stunning visualization proves America is a nation of immigrants. Fast Company · 2018
200 years of U.S. immigration looks like the rings of a tree. National Geographic · 2018