Picture from Ogô’s Artwork Catalog (1999) by Metrô’s Archive.Metrô de São Paulo
When the artist Tatti Moreno researched the neighborhood of Tucuruvi, he discovered that, geographically, it was a mountain region. From there came the inspiration for the shape of the artwork.
Artworks’ sketches done by the artist. Ogô’s Artwork Catalog (1999) by Metrô’s Archive.Metrô de São Paulo
Looking at the station's modern construction lines, with exposed concrete and glass, came to him the image of the train tearing through the tunnels between the mountains. Thus emerged the three conical shapes that form the sculpture.
Picture from Ogô’s Artwork Catalog (1999) by Metrô’s Archive.Metrô de São Paulo
“As I work with and research African cultural symbols, I was in front of an ‘ogô’ of Exu, who, in the African mythology of Candomblé, is the road opener orixá and protector of all the paths.”
Tatti Moreno, 1999.
Tatti Moreno chose the ogô of Exu, a staff made of wood and gourds.
Tatti Moreno and the sculpture’s prototype. Ogô’s Artwork Catalog (1999) by Metrô’s Archive.Metrô de São Paulo
THE CREATIVE PROCESS
During the creation process of large-scale sculptures, it is common for the artist to create a prototype of the artwork before moving on to the final work.
Ogô’s creation process. Ogô’s Artwork Catalog (1999) by Metrô’s Archive.Metrô de São Paulo
The artwork was created in a studio and later transported to the station.
Sculpture placed in Tucuruvi Station's external garden (2003) by Tatti MorenoMetrô de São Paulo
THE FINISHED ARTWORK
In 1999, Ogô was installed in the external gardens of Tucuruvi Station.
Ogô in transit to its new location (2010) by Metrô’s Archive.Metrô de São Paulo
OGÔ’S NEW LOCATION
The passage of time and the newfound needs of the station’s surroundings caused significant changes in the urban landscape, such as the addition of urban bus terminals attached to it and the Tucuruvi Mall. To accommodate these projects, the station was also transformed.
Blueprint for the artwork’s relocation project (2010) by Metrô’s Archive.Metrô de São Paulo
Some studies were carried out to define the new location for Ogô. Thus, in the approved project (as can be seen in the drawing below), the sculpture was moved only a few meters into the external garden.
For this, it was necessary good planning, an experienced team, and special tools, to guarantee the safety and integrity of the artwork. The new location needed to be prepped with a layer of concrete to receive the sculpture.
Ogô's during its restoration (2020) by Metrô’s Archive.Metrô de São Paulo
THE RESTORATION
In 2020, Ogô was restored to its original characteristics and gained new layers of paint and protective varnish.
Ogô’s revitalized lighting structure (2020) by Metrô’s Archive.Metrô de São Paulo
In addition to that, the lighting around the artwork was reinstalled to make the artwork stand out at night.
ABOUT THE ARTIST
Tatti Moreno (Salvador-BA, 1944), is a sculptor. He started creating artwork with wire puppets at the age of 13. Influenced by the Baroque style, at the beginning of his career he made a series of Catholic saints. He soon turned to the Afro-Brazilian religions.
In the words of the renowned Brazilian writer
Jorge Amado:
“[Tatti Moreno] has the joy of living of Bahia’s people and the same capacity to resist all difficulties, to overcome all misfortunes and limitations, and to live life in its fullest.”
Ogô’s Artwork Catalog cover (1999) by Metrô’s Archive.Metrô de São Paulo
Also check out the “Ogô’s Artwork Catalog” (1999), from the Metrô's Archive, in full. To access, click here.
