Gilvan Nunes’ work results, frequently, of the fusion of two genealogies that are historically opposed to each other: the one of the manual manufacturing, of long tradition in the arts, understood as a talent that depends mainly of the technical ability and skills of the artist, and the one of the Project, in which the sense resides in the anticipation of the art piece by the conception of an idea, that comes into place by the appropriation of ready made objects (Duchamp) as the tertiary ordering for the making, as in architecture and design. If from one point of view the making is labor-intensive, for this artist, the process is bound to his artistic thinking and poetic elaboration – Gilvan seems to think with his hands – he usually creates limits for this elaborations utilizing impersonal procedures like the appropriation, the printing, the collage and the assemblage. His oil paintings however escape from the logic exposed above. They are imaginary landscapes, in which floral and vegetations motifs allow an organization process, full of expression and substance in the surface of the canvases of the making itself, which in this case reigns absolutely. In these torsions and displacements resides the power and the poetic interests of the work by Gilvan Nunes, visual testimonies of the hybridization, editing of fragments in distinctive exercises, sometimes even contradictory that characterize both the contemporary arts and live itself.