Gokula Stoffel is the artist invited for the first edition of Hello.Again programme in 2018. Since March, Stoffel have been developing her project in Pivô’s residency studios. The show will take over Pivô’s ground floor, a transitional room between Copan’s pedestrian street and the institution’s front desk, that function as well as an exhibition space for commissioned work by emerging artists.

Stoffel investigates possible outcomes of the idea of the  “pictorial”, through objects and in the space. Her concern about the state of the image at the present moment is clear in paintings that go beyond “painting”. She applies painting techniques in residual industrial materials, free standing glass-pieces, and many kinds of fabric in order to create sorts of fragmented spatial collages that resemble the scroll movement of the digital screens.

In the exhibition, Gokula works with the windows, playing around with transparencies and light entrances in this vitrine-like space. For example: by creating special tapestries – made with loose meshes that let the light gets in- that cover all the window extension of the space, or by turning the sliding door that divide Pivô and La Central restaurant’s space, into a multi-colored landscape made with different kinds of window-film sheets that mess with the perception of visitors on both sides. Gokula’s main objective is to create a space that is experimented from all sides and all times, the spatial compositions are meant to be seen also from outside looking in and the lights will be turned on all time, creating this phantasmagorical presence when the institution is close.

Through the formulation of a new point of interest in the space – by creating a sort of perverse ‘tactile-gaze’, Stoffel seeks to break the hard and aseptic aspect of the modern architecture. This welcoming and highly texturized multi-layered ambient is somehow unreachable; there is always a screen, a glass-sheet or a barrier that separates the images from the visitors.

Gokula’s intervention for Hello.Again pushes her pictorial thinking forward, by including also architecture and the circulation of people in the center of São Paulo.