1.We soon become friends when we first met around the art venues in Rio de Janeiro. There was also the group Visorama which we took part in during the late ‘80s which was very important for our formation.
2. I noticed that you look for artists with no political intention or discourse. João directs his works to a relationship with the ambient, but this space that he builds, acquires sometimes cultural meanings; for instance when he decides to plant pau-brasil/brazilwoods, these are significant
references for us natural and historical reality. When João wishes to have the roots planted or photographed, he really wants to talk about the
particulars of each cultural experience.
3. There is no longer periphery or center. The same thing happened when João decided to spray perfume along the streets, outer walls, sidewalks, or to carry our desires inside balloons. On that radical summer day,
everybody was there, all ages, all people, all cultures, looking at the their dreams written on small paper slips, going higher to a lighter, happier, and more possible place. Earth + sky. Art all around.
— Brígida Baltar


Selected solo exhibitions: 2003: Sesc, Rio de Janeiro; 2002: Agora, Rio de Janeiro; 2000: Paço Imperial, Rio de Janero.
Selected group exhibitions: 2003: Grande Orlândia, Rio de Janeiro; 2002: Slow, Shedhalle, Zurich; Caminhos do Contemporâneo 1952-2002, Paço Imperial, Rio de Janeiro; Love’s House, Lapa, Rio de Janero; IBEU: 1991 a 2001 Uma década de arte contemporânea, Rio de Janeiro; Livro objeto da arte, Cândido Mendes Ipanema, Rio de Janero; 2001: Outra Coisa, Museu da Vale do Rio Doce, Vitória, Brasil; Mistura + Confronto, Central Eléctrica do Freixo, Porto; Deslocamento do eu: o auto-retrato digital e pré-digital na arte brasileira (1976-2001), Itau Cultural, Campinas, Brasil; Paço das Artes, Sãn Paulo; Mostra do Redescobrimento, Museu de Arte Moderno, Buenos Aires; Espelho Cego, Paço Imperial, Rio de Janero.