Of Greek origin, the word "cycle" carries the idea of process. It implies duration, transformation, beginning and end, not as a definitive closure, but as a passage. Each conclusion contains the possibility of a new beginning, a movement that transforms itself without interruption.

 

Upon turning fifty and celebrating three decades of his career, Toz is going through a cycle. From city walls to exhibition spaces, the artist has built a visual vocabulary marked by color, repetition, and the power of images laden with personal experiences.

 

In the new paintings and sculptures presented at the Galeria Movimento, the circular form emerges as a synthesis. What was once a character condenses into structure. The Joy Seller, a figure born from observing ball vendors on the beach and which became one of the most recognizable symbols of his work, does not disappear: it transforms until only the formal core that sustained it remains—the circle.

 

On the screens, fields organized by vibrant and slightly irregular lines form series of circles. They are not exact circumferences. There is vibration, gesture, insistence. Amidst the repetition, a single filled circle bursts forth, carrying patterns and chromatic memory, a vestige of what was once there.

The presence of this point of difference shifts the system. Continuity is not homogeneous. The process is composed of variations, tensions, and deviations.

Formal investigation expands beyond the surface. The circles transform into sculptures, in the shape of a hemisphere, that leave the canvas and occupy the space. The painting gains three-dimensionality. The circle becomes a body. The image, an object.

 

This movement is a consequence of research that has always considered space. Before the studio, there was the wall. Before the frame, the city. Urban art shaped in Toz a direct and expansive spatial way of thinking.

 

By working with the repetition of the circle, a primordial geometric form, the artist establishes a dialogue with the Brazilian constructivist tradition. The serial organization of these forms suggests structure, but it is in the expansion into space that geometry shifts to the realm of experience. By abandoning the rigidity of the plane and introducing presence and body, the research approaches central issues of Neoconcretism, where form ceases to be merely a rational construction and becomes lived experience.

 

Between repetition and difference, emptiness and fullness, surface and volume, Ciclo affirms a moment of freedom. An artist who revisits his own trajectory to extract from it the primordial form. Who recognizes his paths and, at the same time, opens others.