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Recent posts
Extended Family
2026
Aluminium pots, paint, rock, bronze
In Brazil for a couple more weeks @mazzucchellicardoso
19 Oct 2026
If you kling to me l’ll klong to you
2026
Rosa Portugal, Carrara Bianco
45 × 90 × 40 cm
09 Oct 2026
If you kling to me I’ll klong to you
2026
Rosa Portugal, Carrara Bianco
45 x 90 x 40 cm
And El Greco
@louisbdp @damaso.berenguer @colnaghi1760
08 Oct 2026
15:50
2024
Bronze, paint, resin
12.5 x 20 x 5cm
Opened at @colnaghi1760 last week in Madrid. It’s runs until 29th October
@louisbdp @damaso.berenguer
05 Oct 2026
Adriana Francisco
In The Sun (2026), the play goes further still. Two little jabuticaba fruits sit on two disposable spoons; the third refuses the seating arrangement. Painted deep purple, they look suspiciously planetary. Pink chewing gum gets caught among a scatter of twigs, while the matches do their best stellar impression. As it happens, our sun is a middle-aged star. It has burned for about five billion years and has enough hydrogen left to burn for roughly five billion more. As stars go, it is neither especially large nor especially small — large enough to burn brightly, small enough to burn slowly, and so to last. Even how long a star lasts depends on where it sits among the rest.
If we think of scale not as a matter of size or distance, but as a way of distributing our attention, then nothing here is too small to become a world. As Long As The Sun Lasts is, in this sense, a little cosmos of things — none of them cosmic on their own, all of them capable of becoming so. Hamish Pearch’s cosmos is made from worldly things he finds at hand. The cosmic is not elsewhere. It is here.
@mazzucchellicardoso
03 Oct 2026
Breakdown becomes breakthrough
2026
Water-based acrylic composite paper stack cast and bronze cast cigarette butts
40 x 30 x 15.5 cm
@mazzucchellicardoso
30 Sep 2026
Adriana Francisco
In Italo Calvino’s collected The Complete Cosmicomics, the story “At Daybreak” (1965) begins with the narrator Qfwfq and his family living in a shapeless mass of gas from which the solar system is about to condense. At this point, there are no solids, nothing yet to hold or
handle. One day, Qfwfq notices his little brother pressing, stacking, turning, letting go. He asks what he is doing.
—I’m playing.
—Playing? With what?
—With a thing.
Hamish Pearch’s first solo exhibition in Brazil, As Long As The Sun Lasts, has no shortage of things. Pots and pans, peanuts and cigarettes, beans and blankets, rocks and matches, sticks and forks fill the window space at Mazzucchelli Cardoso. The appearance of a thing changes what is possible: the formless takes shape, and suddenly there is something to step over, lie down on, or play with.
In The advantage of lying on the floor is that there’s nowhere else to fall (2026), peanuts, chewing gum and walnut shells cast in bronze are scattered on a blanket — things small enough to read as the remnants of a meal or distant enough to suggest a constellation. Like Calvino, Pearch takes something distant and unfathomable — the vastness of the night sky — and brings it into the domestic scale of human existence. What if the cosmic wasn’t that cosmic? What if it wasn’t something beyond us — the universe, infinity, the sublime — but embeddedness in everything else? What if the cosmos was a picnic?
@mazzucchellicardoso
29 Sep 2026
Sun (Pret forks, gum, matches and jabuticaba)
2026
Oil on bronze and water-based acrylic composite
78 x 87.5 x 8 cm
@mazzucchellicardoso
26 Sep 2026
The advantage of lying on the floor is that there’s nowhere else to fall
2026
Felt, blanket, indigo-dyed cotton, cast
aluminium peanuts, cast silver-plated bronze chewing gum, cast bronze walnut shells, silver thread, and fixings
162 x 176 cm
@mazzucchellicardoso
27 Sep 2026
Endings become beginnings
2026
Oil on bronze
38 x 17 x 13 cm
@mazzucchellicardoso
25 Sep 2026
Sometimes I cant believe I get to make stuff and work with people who care. And trust. Making and thinking about work is a journey and a discovery. I don’t understand it all the time. Sometimes I wake up and wonder what I’m doing. But then I remember the relationships and the work. The people that care and have my back. It flicks a switch that makes we want to discover and to be vulnerable to collapse and failure. I keep the faith that the work is more intelligent than I can ever be and it’s going to show me the way. And trusting the relationships with people that hold it all and me together. In São Paulo I keep feeling like everything is Open. Generosity is abundant in this place. Open hearts and open minds. Everything is alive here and I’m so grateful for it.
Thank you Kiki, Lu, Juliana, Jula, Maria, Adri, Rafael, Otávio, Borba, Mon, Rhaldex and everyone at the foundry. Sculpture is collaborative
@mazzucchellicardoso
23 Sep 2026
Everything is alive (bean, frog, gum, and match)
2026
Wood, bronze, paint
158 x 31 x 8 cm
@mazzucchellicardoso opens today
24 Sep 2026
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