Solfejo is a path. It began in 2019 at the Centro Cultural FIESP, in a Brazil undergoing turbulent transformation. A song in the dark. It passed through Brasília, where it grew, and settled in Rio, my city, where my ancestors live — and where their songs sing in my ears and drum against the soles of my feet. Here, it meets the Caminho do Peabiru, the geographic and ritual route of the ancient South American ancestral peoples, which cuts through the territory of Paraná. Where paths meet, a crossroads is made.

The crossroads, like Solfejo, is a point of infinite possibilities. A pororoca of knowledges, where the visible accesses the invisible and the intangible becomes tangible. The ancestral peoples who built this route — which connected the Atlantic to the Pacific, from the coast of São Paulo to Machu Picchu — did not understand separations between subject and object, myth and rite, transcendent and immanent. Art and life. So it is with Solfejo: the music of the stars reverberates in earthly bodies, and the songs we sing — and to which we jump at Carnival — echo in the firmament.

In this exhibition, one is allowed to see the continuum between the drawing of a sound and the whisper of memory when reading a written song. A porous space between worlds. Where we can look at images that arise on the outside in order to access what lies within. We sing with memory, and we remember through song.

Solfejo is a school that teaches how to vocalize through silence and allows us to listen to the music that vibrates within longing, culture, and the collective unconscious. It is about the inner timbre that reverberates in the void. It is a glimpse of our own songs — those we recognize, that have always been and always will be. For it is of music that we are made.

Felippe Moraes
2025