“In our work we manage to do something different and the decoration brings that energy, the art. The art is fantastic so you can balance it there, why not? I study a lot the frequency of colors, all the elementals of nature and how to balance them like this one here: wood with stone, you work the balance: wood warms and crystal cools, so you put the two together, the balance. They are small details, points that I really like. I try to transfer some of these stories to the pieces, that is they bring good energy to whoever they are in their homes”.

      “When I am creating the pieces, they talk to me. Mainly “defined” pieces, wooden trunks that nature defines, they are unique pieces and so you have to talk to them. When it`s a defined wood or even something that`s exclusive like watches. They follow the same idea each watch is a wooden cutout. I love doing this because there`s an energy in everyone, there`s no repetition. You will always dialogue with it and establish what fits there and what does not interfere with the appointment, that does not disturb the functionality of the object but that complements it”.

      “Ideas emerge, there is no rationality involved. There is a connection between you and the object. It seems to me that the logical part and the non-logical part come together: you fit the shapes together and everything happens. As we work as a team then we exchange some ideas. I am the one who most seeks to fill in the empty spaces, while Germano and Andressa prefer pieces with fewer elements”.

      “Regarding the reuse of objects and things that are no longer useful such as old pieces, first of all you need to clean the piece: physically and energetically. That`s because it already brought a story and that story can be fantastic and the energy stays, or the story wasn`t so good, so you need to neutralize it, because it goes to someone else`s house. So whenever it`s a piece for restoration you have to take care of it: you need to clear this field to leave it at zero for another family. Restoration always has this process, and therefore you have to see if it`s worth it because it has a high cost: you have to put it in the balance to see if it`s worth the investment”.

      “Bauermalerei in addition to bring colors, brings an energy of joy that is its essence. For Dreizehnlinden it fits in well because many works are made of wood and the city already has a characteristic of using wood in architecture and objects. In this sense Bauer ends up making a positive contribution to the prevailing art because in the case of here, sculpture is already very widespread, so the color matches the painting very well. These are two points that come together very well”.

      “It is interesting that I was never very attached to finished works. I don`t have that feeling of attachment. I love when people identify with what I do. I am very happy when someone likes it and takes the work with them.”

“Edelweiss is originally from the European Alps, grows in rocks generally at an altitude of between 1,700 and 3,400 meters above sea level. Edelweiss became known in the world because of music and is considered the true flower of love, because someone risked their own life climbing mountains to harvest it. It does not wither and does not die, and remains the same for over 100 years. That`s why we only gift Edelweiss to someone very special.”

What to say about the passages where Plato affirms, contrary to what he says about other points of view and the position that we impute to all traditional ontology, that there is creation (poiésis) and that this is “cause of the direction of the non-being to being”, what “conducts a non-being before a “stay” (ousia) ulterior”?... Plato observes that it is customary to unduly restrict the terms “creator” and “creation” (poiétés, poiésis ) to what is only a part of “poietics” (that which concerns “music and matter”), when all work subject to an art (techné) is truly “poietic”, and the craftsmen who carry it out are all “creators” - poiétai. But what does this work consist of, and what is a techné? In what is a craftsman a craftsman, and as such a creator? To the extent that it gives a formless piece of matter its form, its eidos (and here we can use the language of Plato or Aristotle indifferently, because Aristotle, in this regard, only needs and develops to the extreme Plato`s thought). It is this eidos, this form that makes the wood the table, the bronze the statue, the vase. Now bronze is bronze whatever its form. But the statue is a statue, like a statue, only because of its form; his statue-being, his essence, is his eidos. Saying, therefore, that we created the statue (ontologically) only makes sense if we say (which is true, at least for the sculptor who does not copy or from it) that we create the eidos of this statue, that we create eidos. We only make the statue as a statue and like this statue if we invent, imagine, if we establish its eidos from nothing, if we print an already given eidos to a piece of bronze, we are only repeating what, essentially, as essence-eidos, was already there, we are not creating anything, we are imitating, we produce. Conversely, if we “manufacture” an another eidos, we do more than just “produce”, we create. (Free translation from Portuguese version of the book).

Between emigrating and immigrating there is an ocean of sea, barriers, different codes, temperatures, languages, customs, ways of being. Crossing this ocean is not easy, it is not enough for the ship to arrive, nor for the train to lead to temporary accommodation. Re-rooting may or may not occur. (Free translation from Portuguese version of the Thesis).

The transgenerational question refers not only to the past, but also to the future, insofar as it moves towards what is not yet, because human beings carry potentialities of being. Here again appears the need to paradoxically understand the human condition, in the human and beyond it. In ethnic objects there is a specific type of transitional object, insofar as they are objects that connect the person with their ethnicity: presence of self, presence of ancestors, of others, reconnecting the person with their origin.

The notion of identity has a long history in the field of social sciences and psychology and here it is interesting to register its conjunction with ethnicity. Weber (1991) was one of the first social scientists to add ethnic awareness to the experience of migration, highlighting their sense of belonging to a community or collectivity, without naturalizing the symbolic difference. This leads back to the later discussion on ethnic identity, treated as a social construction that produces effects in the lives of individuals and collectivities. There are several ways of thinking about ethnicity - including analytically - but I think it is more useful (for the purpose proposed here) to retain only one of its multiple facets: that which concerns the forms of representation and action that support ethnic identity through the perception of ethnicity. cultural distinctiveness. This identity is collective, assuming the recognition of belonging to a group or collectivity, and individual, because it means the person in society. Identity, like memory, cannot be entirely detached from the objective reality that underpins it. Hence the necessary initial reference to the formation of ethnicities in the context of colonization. (Free translation from Portuguese version of the book).

”From Plato to Kant, philosophers have tried to capture the peculiar way in which beauty dauwns us, like a sudden ray of sunlight, or a surge of love. For Plato, the only explanation of such an experience was its transcendental origin, it speak to us, like the voice of God. And Kant too, in a much more sober way, believes that experiencing beauty connects us with the ultimate mystery of been. Through beauty we are brought into the presence of the sacred.”