I do what I like to do, even though sometimes it causes me so much suffering that I say I will never do something like that again, but I always do, many times over. I like to test the limits, be at risk. Many times when a work is installed at an exhibition space it is the first time it has been made, and since the work deals with a lot of tension and heavy weight-holding material, there is always a balance, a feeling of being close to a catastrophe. I have experienced some and been very close to some big ones. We have a very short time to make all the decisions and we are working and learning at the same time. For me, the exhibition space is an extension of the studio, fresh paint. It's always a private adventure. I think there is a level of tension that I can't live without. The lightness comes from the fight. When you look at the piece there is a certain degree of lightness, but there is a strong energy of conflict between the elements involved. To have this whole environment in a state or balance, there is a power negotiation between the parts and an atmosphere of interdependence. Making this kind of work is like being a conductor, administrating the polarities.
Fernanda Gomes & Ernesto Neto. (Dialogue)
Neto's creations involve every one of the viewer's senses: sight, touch, and on occasion, smell and hearing.
As a whole, these works result in the creation of seemingly ethereal and enchanted environment-installations.
Reflecting on his work, Ernesto Neto has observed that he wants to offer the viewer "a place where the realities of an intellectual universe and those of a sensory universe can be reconciled, where we can breath freely at least for a minute."
Schlebrügge noted an important fact: the contours of Neto's constructions play a fundamental role,...