Daydreams in Black and White

"Athos gives narrative names to some of his photomontages: The view of Moscow - Life on Board is Lively (O olho de Moscou - Animada é a vida a bordo), Mrs. Vanderbilt's Nightmare (O pesadelo da Sra. Vanderbilt), Who Knows, in New Orleans? (Quem sabe, em Nova Orleans?). In others, he resorts to enigmatic names: The Double (O duplo), The Prisoner (A prisioneira), The Abyss (O Abismo). In all of them, he uses names that invite the viewer to drift, when we are captured inside his photo-movies, as Einstein explained."

“[...] When you look at the matrices in the photomontages, this merging of different sources can be seen in the different gray tones, in the different grain sizes from reticulation and the resulting differences in image definition, in the brush or pencil marks made by the artist." 


Marília Panitz

“[...] The idea of merging temporal (and narrative) representation into a single image (as if suddenly seeing it for the first time) already featured in his earlier work and he retained this approach throughout his art and architecture integration work.”


Marília Panitz

"Athos' work seeks to maintain, in the pasted parts, a relationship between photography and its logic. The montage formed partially from photographs is re-photographed for the new print…

"In this way, the artist is able to achieve a uniformity in the surface and treatment, as the photographic code demands". 

Paulo Herkenhof

“The photograph looks 'normal' (surface, light, tones, proportions) except for the fact that … the head doesn't match the body, there's a rhino in the mix." 

"Athos does not make the image more reliable than the real world. Surprise, criticism, and humor produce a new 'pathos' for the old sameness in photographs, which have become trite through being an everyday medium." 

Paulo Herkenhof