Self Portrait 1 - Gouache on wood - Dez / 2008

Self portrait is the last drawer.
The ex shoes drawer that became a cupboard (by me breaking it and by Fer realinzing the idea and painting the new cupboard), and three of the drawers have left.
The first one was the first contemporary painting... the one I glued objects on the board. The second one was the first Pollock’s experience. And the third one was the self portrait, me juggling, with a sea over my head. It came from a photo of mine (when used to be a hippie travelling in the north of Argentina – in San Juan at the time of the photo), and the sea on the background is from a photo of a friend of mine with her boyfriend on the beach, with this beautiful landscape behind…I suppose it does not look like a landscape…but that does not matter too much…first because it is whatever u want it to be, and second because I’m telling you it is a landscape.
I’m tired of that contemporary art thought that it is what u see. No, it is a landscape, and if u do not see it as one, read my text and find it out…instead of trying to find it out by yourself.
Fast drawing.
Fast painting.
The drawing was made some months ago, 2 or three…I cannot remember. But I do remember it was made really fast.
The first thing I did before starting to paint was to redraw the face. It got better…It was too small when I first made it…kind of funny…It is not my intention to make caricatures.
About the colours: it was the first time I used the Fauvist colours thinking naturally about contrasting them…and not looking at the basic and elementar coulours circle, wondering which one contrasts better with another.
It came naturally…thinking like…this blue is too dark to contrast with this green…or the yellow is too light to contrast with the orange, or even with the red.
The purple keeps meaning nature! And the green keeps meaning sky! I do not wanna to stuck on the green sky…although the one I’m making now, I’ve decided already I will keep the sky green…But I do wanna make the sky colourful…like Derain!
I have to remember the first painting. Vue de la maison a Rainha do Mar. It was made without a draught, and leaving blank spaces.
Believe in the blank space. Do not care about what people think. (They usually think blank spaces mean not-knowing how to paint) (But they do not know, that knowing how to paint does not exist!).
Better signature. More personal. More personality.

Portrait like the Fauvist used to do. I love the colourful faces...Matisse paing Derain, Derain painting Vlaminck, Vlaminck painting Matisse!

Expressionism Abstract Bleu 2 - Latex sur Toile - 80 x 50 cm - dez / 2008

Abstract Expressionism
Abstraction Gestual
Action Painting

Many names for the Pollock’s invention.
It must be written in English. It is the only recognized american artistic movement.
I changed some emails with a guy from the US, an expert in Pollock. He, after asking me if I were a real artist, said to me he used to paint with Latex paint or Enamon…what hell is Enamon?
The first experience was a disaster, gouache on wood….it works but not for action painting…the painting is all cracking…well…nevermind…nobody is going to buy it anyway.
But now I got the right paint. Latex seems to be perfect to that. Mixed with some little water makes the painting quite fluid in order to do the right movements.
Blue was the chosen colour. The original idea is to paint six of these, with the six basic colours, then paint the last one with the six colours.
By the way, the first expressionism abstract – the on with gouache – is with the six colour.
This one got good, and maybe it will b sold. Cross my fingers….heheh..looking forward to selling the first painting.
There is balance, there is not too much painting as the first one. The paint dried really fast and seems to stay for long. Will cross my finger…hehe
The board has a good size, but it was a bit expensive…36 reais just the board, and 15 the can of painting, which is good, coz it came 900ml of it, which means that I can paint about ten of this..hehe…and sell them all and got rich forever!!!!!!
What else?
I can say that the process of making it is very pleasant…one has to concentrate in order to give the right balance…it is not just about throwing the paint on the board…it’s about felling the balance and discover how the different movements with the sticks produce different lines…
I hope I can make more of these soon…money will tell.
One painting per day is the aim.
I’m achieving it so far.

p.s. after 20 days studying Geography and not painting or drawing a single line…finally I’m done with shittie Geo and back to the art!!!
p.s.2. The black one is Pollock. Isn't it obvious?

Vue de la Fenetre de Ota – Redenção. – Oil sur toile 50x60 – oct 2008

I wish I was painting in Nice, or Mônaco, or any other fancy place like that but no, I am painting the view I most know, the view from my window.
Three nights to finally pass the drawing to the board, five nights to paint it. Too much. Too long. Not for a beginner. The result is not good but I love it. And I don’t like it. A painter must never be satisfied. So that’s how we continue.
The colours are the pure ones, like the Fauvist, but the black. The black is not a colour so should not be there. The white, in the end the most used one – it was the only tube that I finished and had to buy another -, which is not a colour either, is there. My uncle said to me, after me saying that I’m not using the black in my paintings – the tube was not even opened -, that I should not use the white one either. I agreed, but not completely though; there is just some little white spots on the board, right in the centre, with the little flowers. Funny that, it is actually the only colour transcript like it is shown in the real; all the others are changed. The green beautiful trees are actually violet, the deep brown tree-trunks are actually orange and red, and the dark is sky is green. How beautiful is the green deep sky. The brown was very little used, and I really didn’t like the result; it is actually a mistake, the
It is incredible the challenge that I passed through, depict the night with the Fauvist colours; happy bright colours to depict the deepness of the Porto Alegre night, with its dangerous park and burned light spots
The only ‘mistake’ I committed related to colours, is the dark green chosen to be the street; it should have been light green. I also did not like the dark blue to be part of the top of the balcony; it is a too dark colour to a too near place to the viewers. The brown was very little used, and I really didn’t like the result; it is actually another mistake, the first light pole, it is too dark and there is no contrast, but that’s consequence of the first and real mistake, the dark green street.
In the end, I found the plant on the balcony was like the queen of the painting, all the views end up in it. All along the balcony leads to the plant. Well, it’s special anyway. Funny that, it was the last element thought of. It was the last drawing that I made, and it is just part of the final drawing on the board, on all the other three draughts it is not there. The three first buildings on the right side of the viewers are very bad painted; I suppose I was too drunk that night. The orange big building on the left side is also bad, but that’s lack of experience, it was the first thing painted on the board; then the painting grew from there, ending with the sky; as it should be. Humm, what about starting with the sky next time? I will leave that as a challenge.
Signature is always a problem, that’s lack of experience, hehe. But it’s good that it looks like from a child, coz in the end, that’s what we Fauvist are, children painting. Adults painting like children.

p.s. the French name is just to show off.

1 Art Movement per Month - November - The Fauvists

Ola! Aqui quem fala é o prof. Esperamos fazer desses encontros um meio para discutir alguns movimentos artísticos, sem pretensões de tornarmos grandes especialistas, apenas grandes apreciadores, e trabalharmos a língua Inglesa de um modo divertido. Que venham todos que tenham interesse, mesmo aqueles que acreditam nao ter um Inglês suficiente para uma aula tradicional de conversação. Todos serão abraçados, bem recebidos e aproveitarão bastante os encontros, os quais serão realizado em um espaço com uma energia....diferente.

Expressionism Abstract Fauvist

If mixing the vanguards means doing a vanguard, if a new vanguard is impossible to be created, just reinvented; so I mix them.
The Fauvists did not know Pollock, so they could not do the Fauvist painting that I do. My motif is different from theirs, but my colours are their ‘copy’.
Nothing is invented, everything is copied.
I nowadays copy what the Fauvists could not copy.
I’m a reinvented Fauvist;
with no technique. I have no technique. I’m a painter without knowing how to paint.
I’m a painter who doesn’t know how to paint.I have no technique; and I am a reinvented Fauvist.

¿Vanguardia?

Reinventing the Vanguards means mixing the Vanguards !

Abstrato Fauvistas - Lápis de Cor sur papier

4 Fauvist Abstractions - Words

Experiência Infinita - Fiquei de escrever um poema com esse título. Era como se o poema já estivesse pronto na minha cabeça (essas duas palavras são tão inspiradoras para mim), entretanto, nunca foi escrito. Ao invés, sai uma pintura. Fase de rabiscar cores no papel, tentando usar as 48 diferentes cores do jogo de lápis de cores.

Van Gogh - Com algumas molduras que um menino de rua me vendeu (4 x 10 reais), comprei uma cartolina e recortei no tamanho direitinho da moldura, e aí saiu o Van Gogh!

Daime Cores - Durante a genial experiência de tomar a Aiuasca, nada mais pedi que 'Daime Cores'. Engraçado esse jogo de palavras que constantemente repeti durante todo ritual. Daime, do própio Santo Daime, servindo como um verbo imperativo, e pedindo nada mais do que CORES!!

Complexidade - Trabalho final de monografia, escritos sobre museologia e visitação a museus; partindo da Teoria da Complexidade desenvolvida por Edgard Morin, criei o termo complexidade museológica, que tenta entender os museus como instituições muito mais complexas e abrangentes que apenas as suas salas de exposições.

Usina do Gazômetro - Black Pencil, Colour Pencils and Aquerelle

Usina do Gazômetro com z? Por que? não sei.

Usine du gasometro c'est un centre culturel a Porto Alegre. J'ai fait le desin 3 ou 4 mois avant. Il y a trois jours j'ai le peint.

Usina do Gazômetro Fauvist...

And the next one is a big project...

unless a new idea come before...

but the big project is in my mind...

wait till saturday that I'm gonna ask some clues to my aunt, ex painter, as well as asking her to get some oils to me. I've got the frame, I need the board now...And then..The big FAUV project is on the way...

Vue de la maison de Eduardo a Rainha do Mar. Guache sur toile,sep. 2008

One and a half day together with three other friends in Rainha do Mar. I take my board and my guaches. It is winter, rainy, and the beach is almost completely empty. The scenery is quite inspirative. The motif, in the end, is not a landscape, or a portrait, as it could be; it is the front of his house, a simple and cozy one. It’s getting dark and I start drawing, it starts raining and gets dark; I postpone the project to the next day. It’s always a difficult question to be answered by the painters: How long did it take to draw, or to paint? We always have an idea, but not precisely; quite often we get lost in time. This one took about 30 minutes to draw, or less, and other 30 minutes to paint, or more. I started painting outside, at the same place where I drew it; however my friends started wondering why I was painting there if they were not real colours…They found out what I fancy doing…Fauvism. And the colours explode from the board into reality. The always red or orange stem of the trees. Shall the sky be blue? Or would it be more beautiful with green? The action of painting is free, and and the blank spaces are allowed, inspired by Dufy - and maybe Vlaminck as well -, who allows himself to leave spaces on the board without painting; later, some other girl friend of mine says to me: - Look, I’m giving you a clue, next time you should not leave blank spaces, it will be more beautiful. I agree and disagree with her. It could maybe be more beautiful, but the painting is free, it must be free, it must be expressive and momentaneous, catch the energy of the moment, and the experience of the painter. However, I think I listened to her opinion, and the next painting, which was Le trois montagnes, I did not leave any blank spaces, the sky is green and there is a tree with its stem, but ‘wrongly’ I painted it with blue and brown (by the way, brown is not even one of the six pure colours). The sky was not remade, I left as it was, nevertheless the green grass, which I started painting by it, was remade at the end, ‘improved’. There are blank spaces all over the painting. If I work more with the coma movement of the brush, and give the ideal, strong and decided movement to the painting, the blank spaces will be eliminated more naturally; but I cannot deny that I like the blank spaces, and although they seem not to impress the viewers, they impress me; therefore, they are allowed. The hosepipe on the grass does not look like one, but who cares; it helps with the balance anyway, so it has its meaning to be there; besides the balance, it was there in reality. There is a perspective problem, on the side of the house, just up the hosepipe; the not very precise drawing, and the bad quality of the material (guache and cheap brush), were both the cause of that imprecision. I like my painting, the colours, the blank spaces and the smell of it. I gave it to my grandma, as two days before making it I said to her: - There are just three people who I would give my paintings, you and my parents. I said that sentence to Fernanda too, and she spoke out: - And me? she said. Two days later, I painted Le trois montagnes to her. My grandma got really happy. Some day, in an art book, I read a saying of a painter that said something like: “If I can touch at least one person with my painting, then I can consider myself a painter.”
p.s. the decision of writing in English, was because of the boy Freddy. One of the only readers, who got too curious last time, or not. Englsih & Portuguese! Spanish & French, do you miss me?

Les Trois Montagnes, Guache sur toile, 2008.

As Três Montanhas é um presente para Fernanda. Sobre a minha incapacidade de fazer o seu retrato, decidi mudar o motif e fazer algo meu, que representasse algo para mim. Inspirado em um dos meus favoritos Fauves – Maurice de Vlaminck -, que por sua vez se inspirou em Van Gogh. O quadro de cima, de Vlaminck, Le Cultivateur, com cores mais fortes e vivas e traços mais marcantes, inspirados nos traços em vírgula, técnica amplamente desenvolvida por Van Gogh. Vlaminck é o Fauve que usa as cores com maior agreção, traços fortes e decididos, cores puras, sem mesclas, exatamente como saem do tubo de tinta. Já o quadro de baixo, Champ de blé avec um faucher, tem suas cores mais suaves, porém traços bem decididos e sem preocupação por detalhes, caracterísitca marcante em Van Gogh; as cores do campo são tão forte que inclusive se sobressaem ao sol, deixando assim o cultivador um pouco escondido; já no quadro de Vlaminck, o cultivador é mais evidente; ambos, demonstrando assim, como as atividades de pessoas simples são sempre inspirações importantes na escolha do motif. Minha tentativa foi de fazer uma mescla dos dois quadros. Primeiramente acredito em haver cometido um erro de equilíbrio de cores quando pintei o campo, foi a primeira parte a ser pintada (descoberta: a primeira parte do quadro a ser pintada será sempre a mais difícil para encontrar o equilíbrio, obviamente devido à falta de referências prévias de cores). Segundo, o lago faltou perspectiva e experiência na hora da pintura, sendo assim, como um bom humor de todo bom Fauvista, nomeei o quadro como as Três Montanhas, visto que o lago se parece mais com uma montanha; mas não deixa de ser um lago. “Não é porque pinto de azul que quero dizer céu, nem porque pinto de verde que quero dizer grama; o marrom, não precisa ser um caule, e o amarelo, não significa sol.”, um lago mesmo que se pareça uma montanha, não deixa de ser um lago; melhor dizendo, um lago que se parece uma montanha, se torna uma montanha (realidade e representação, são duas coisas que não necessitam ligação). Devo ser inspirado por motifs populares: lixeiros, mendigos, cadáveres fauvistas (como Organismo I, não tem nada a ver com motifs populares), etc. Meu cultivateur não me parece ruim, é tão fauve como o de Vlaminck; o que não gostei foi o contraste do marrom de sua ferramenta com o vermelho do campo; afinal de contas, marrom nem faz parte das seis cores puras. O céu, com as pinceladas no sentido de vírgulas, ficou interessante; assim como o céu do quadro Vue de La Maison de Eduardo a Rainha do Mar, a pintura em vírgula dá o movimento ao quadro, porém falta movimento em todo o resto do quadro, embora as montanhas não tenham ficado tão mal, com exceção da montanha-lago.
Próximo quadro, ainda não sei nada, gostaria de pintá-lo no finde, porém mamãe e titia vão chegar, talvez seja uma boa oportunidade para pedir umas tintas para q titia, que é ex-pintora.

p.s. Vue de la maison de Eduardo a Rainha do Mar, fo pintado antes de Les Trois Montagnes.

Organism I – Guache et Aquarelle sur papier.

The motif of ‘Organism I’ came from my former studies of the Human Body (Physical Education studies), mixed with the actual Fauvism art studies and motivation. The Fauvist masters might not be satisfied yet with the final result, but they would not deny the evolution and mainly the passion I have been working towards their teachings. The black is not one colour; it is all colours. It will be ignored. It won’t appear in the paintings. It will be taking off of the paleta. The white is not present here; it is to be avoid, however it is essential to create some new colours; colours near to the six pure ones. ‘Organism I’ tries to shock, but it doesn’t. It fails. A colourful painting is never going to shock; will it? Perhaps no. Perhaps I am not really trying to really shock the viewers, but amaze them. A Fauvist painting does amaze the sight. The aquarelle type of paint must be looked after better, its transparent colours are beautiful.
How will the Fauvism be reinvented, till I can call it ‘Reinvented Fauvism’? Time will say.

¿CONTEMPORARY?

Me, who doesn’t like contemporary art! That is the name of the second painting – ¿CONTEMPORARY? - , it made by guache on wood. The wood used to be part of a small wardrobe used to keep the shoes, which I broke a couple of months ago and Fernanda made another little wardrobe with some shelves on it (we have been working on reusing things, and she is the one who has always the best ideas); in the end, I decided to break, she decided to sew it and paint and I decided to use the last shelf as a board to paint; team work. The idea started in France, one day at a friend’s of mine house who was getting rid of the things coz he was moving on, I have just decided to collect the things (garbage); when I travel I always collect lots of things: flyers, photos, garbage things, little toys, papers…whatever. The thought of gluing all those things on the board and make a painting around it came at the exact moment I was collecting those things, coming back to Brasil I carried on with the idea. I miss painting technique, coz I don’t know how to paint, but at least I have received a very important complement: “It’s creative, at least.”. Each object for each character, maybe meaning something. I had to find a bottle coz there was a cork, so the model is the bottle I use to juggle; I wanted a guy asking for money, with the little cup, I painted him without a model; I wanted a guy throwing coins on it, again I painted the boy without a model; there are two very funny objects, the little pic of the girls screaming, which is a ticket to enter somewhere (don’t remember where now), and a little child toy (the funniest one), it spits fire on the girls, and the matches in between makes the scene more real; I got a roll of photos, which I have no idea what’s in it, I wanted someone taking a picture, but I didn’t have a model to copy from, therefore I took a picture of myself on the mirror, shirtless (quite bad picture), then I just copied myself from the picture, the digital camera now became the roll; the woman laid down at the bottom is a drawing I made in Paris, it’s a reproduction from a statue, which is in a park nearby Roland Garros; the pencil sharpener is just an idea that I wanted to put on the board, representing my ‘profession’ as a drawer; the colorful broach on the right side at the bottom was supposed to be at the place of the little saint, coz the little saint was found after the whole idea was ready and I definitely thought that that saint should be on her vagina.

Still pure colours...like the Fauvists...

Hoping that I do not disapoint the master next time...

p.s. the little ball in the middle, just a little angel playing soccer inside.

look straight at my eyes

look at straight at my eyes and you will see it
nothing else but strangness
of what I feel
of what you feel
which is nothing but
money
that they throw it away
while people are starving
to death
and I am
looking at their money
and taking their money photography
instead of
helping the others`out
fuck off lovely Monaco
fuck off lovely Paris
Africa! Brazil!

Vue de la fenete de Stefan, a Cagnes sur Mer

Otavio Vieira, Vue de la fenetre de Stefan, a Cagnes sur Mer, Agot 2008. Guache sur papier.

Primeiro quadro pintado, apos alguns desenhos realizados. A tecnica utilisada foi a mais simples possivel, devido a falta de material mais adequado. Logo que terminar essa viagem pretendo comprar melhores materiais, e principalmente comecar a pintar com olio, que ainda nao pude experimentar, mas todas as principais pinturas sao feitas com essa tecnica. Certamente o guache me permite treinar minha pintura, e o simples lapis no simples papel me permite treinar eu desenho. Nao pretendo fazer arte abstrata, me parece que o publico atualmente ja esta cansado de tanto 'nao sei o que', de tanto entrar nos museus de arte contemporanea, bienais ou quatrienais e nao entender, o publico atualmente se sente distante da arte, acha q nao a compreende, e por isso o mais importante sobre o mundo da arte esta sendo esquecido e o publico esta sendo cada vez mais distanciado do mundo das artes plasticas, o mais importante eh que nao ha nada para ser entendido nas artes plasticas, devemos apenas sentir! Henri Matisse diz que os primeiros quadros de um artista expressa a sua real arte... talvez expresse apenas as prmeiras influencias que o artista teve no inicio da sua carreira. Independente do que seja, vejo com bastante interesse esses primeiros quadros que devo pintar. A tecnica eh pobre e a habilidade tambem, porem a vontade de expressar-se eh bastante intensa. esteticament eles certamente nao serao os melhores, eh necessario um desenvolvimento artistico e intelectual para que um artista consiga chegar ao apice de sua arte, e isso leva anos. Estou nos meus primeiros meses de desenhos, e apenas nas minhas primeiras experiencias com a tinta...vejo um desenvolvimente...como jah conheco como o desenvolvimento do aprendizado de uma lingua se da; diferentes experiencias resultam em diferentes necessidades e diferentes espacos detempo para tal aprendizado. Cada uma das linguas que aprendi e que ainda aprendo, necessitaram diferentes tempos e estudos para tal desenvolvimente, apenas o frances e o italiano me parecem haver tido um desenvolvimento com necessidades parecidas, pois comecei a estudar as duas linguas ao mesmo tempo, apos jah saber o portugues, o ingles e o espanhol, nessa exata ordem de aprendizado. A ordem tambem eh de extrema importancia; aprender o espanhole depois o frances nao eh a mesma coisa que aprender o frances e depois o espanhol. Existe uma ordem de facilidade: pra um brasileiro, falante nativo de protugues, o espanhol eh a lingua menos dificil, logo o italiano, logo o frances, e provavlemente o ingles vem em seguida. Entao, porque o ingles foi a primeira lingua que aprendi? Influencia socio, economico e cultural que me levaram a determinada ordem de conhecimento. E visto de certo angulo, foi um desenvolvimento linguistico bastante interessante, visto que pude ter uma introducao as linguas germanicas.
Antes de pintar o primeiro quadro, em algum momento tinha dito ao Pierre - meu companheiro de viagens - que iriq pintar algo Fauve! Tento desenvolver meus estudos atraves de livros de arte Fauve, e cada vez mais nao sei se o que pintei faria ou nao da arte Fauve! acredito que nao, mas o que importa eh que q inspiracao veio de lah, e se realmente nao, espero que os proximos quadros sejam Fauve!. Usei as cores puras, 'diretamente do tubo', nao por objetivar algo, mas tambem por falta de conhecimento tecnico. Entretanto de um certo modo, observando quadros de Vlaminck, Dufy e Matisse, aquelas cores entraram na pela minha retina e ficaram...cores puras e fortes, querendo dar um equilibrio ao quadro de forma simples e infantil. Nao pretendia pintar o papel quando fiz o desenho. Comecei a pintura apenas dois ou tres dias apos realizado o desenho, nesse meio tempo continuei treinando o desenho...natureza-mortas, copias de natureza-morta de Cezanne, copia de Gauguin com seus quadros do Haiti ( comecei a pintar um, nao ficou tao mal, mas eh necessario melhores materiais e um quadro, de qualquer forma o treino atraves de copias dos mestres, ou qq outro tipo de copia, me parecem estar sendo de extrema utilidade para o desenvolvimento das minhas habilidades como desenhador), paisagens da praia...etc. Minha maquina digital tem me ajudado e me ajudara ainda mais no futuro proximo. Posso com ela tirar as fotos que poderao se tornar quadros, tiro a foto do todo, como acho q o quadro se parecera, e depois tiro fotos dos detalhes, para que possa observar melhor na hora de visualiza-las na tela do computador. Algumas cidadezinhas antigas perto de Nice me inspiraram bastane, ruas estreitas e casinhas antigas feitas e pedras, flores, ceu, grades. Devo pinta essas imagens como elas aparecem na minha retina, ou com uma tecnica Fauve!? A arte Naif tambem me pareceu bastante interessante, entretanto, nesse meu inicio, tenho mais vontade de fazer um riscos e tracos e cores, mais livremente no quadro, e nao me atentar tanto aos detalhes...embora normalmente os detalhes me parecem ser importantes...Cores eh o que quero, cores eh o que busco!
O laranja teve papel preponderante no meu quadro. ( Matisse pintava muitas laranjas, pois eh a unica fruta com nome de cor). As arvores sao de cores muito parecidas as montanhas, lilas claro. O ceu, nao ficou bom, fiz o tipico degrade de mais claro embaixo e escurecendo em direcao para cima. Nao sei pq, mas nao gostei. Deveria eu pintar o ceu de amarelo? Desenhei pequenos passaros...nao ficaram feios, mas me arrependi, deveria haver desenhado um aviao, pois em Nice, vejo avioes a cada meio minuto. Nao consegui assinar direito, a tinta eh ruim, e o pincel tambem. Otima experiencia! Quem quer comprar?

Bolívia II

Amor
Amor que dá vontade de sair correndo
Fugir
Ficar
Amor que dá vontade de chorar de alegria
e de dor no estômago
gente alegre
gente sem profissão
crianças com profissão
gente alegre
que não cansa de dançar carnaval
a cada nova cidade
um novo início de carnaval...
e um novo cheiro de xixi
cor
cor
cor
cor que não poderia jamais viver sem suas cores
traz aquele brilho de felicidade pros olhos
olhos cansados
com brilho de felicidade
Titicaca esquecido
energia na ilha do sol
choro de alegria na ilha da lua
energia dos Tiawanacu
Potosí
minas e trabalho escravo, jan. de 2008
os mineiros e seu deus
o venerado
Diabo
folhas de coca e bicabornato
passa a fome
passa o sono
e as pedrinhas preciosas
pode buscar
pode buscar
pode buscar
q não vai adiantar
nos pescoços dos gringos já estão
há 300 anos
la Paz
Paz para la Paz
Cuanto cuesta?
sólo um bolivianito!

STRANGE

Venía todos los Lunes
Y cuando lo reencontré
Tras un año q habíamos encerrado con los encuentros de lunes
Nuevamente los lunes reempezarán
En el primero
Hablaba demasiado del novio
Que había cortado hacia poco
En el segundo
No habló ninguna palabra del novio
Esperaba todavía
En el tercer
No tuvo sexo
Y dijo q el mensaje que selo había enviado
Su novio lo había leído
Solo le invitaba a un boliche cerca.
Se fue.
¿Volverá?

just a morning day

from outside in my balcony
i see the world
and I try to tell you how it looks like
coz you are here with me now
I feel you here,
by me


The sun is burning my skin
Im shirtless
feeling you hold me
from the back
you are licking my neck
and caressing my belly
my dick growing
and you feeling it
your foot touching my lengs
your fingers on my nipples
turning us on
my neck is all wet
the sun burning our skin