Stainless steel
124 x 37 x 21 cm
164 x 41 x 41 cm
TBA21 Thyssen-Bornemisza Art Contemporary Collection

The practice of the Brazilian artist, curator, and academic Ayrson Heráclito is dedicated to a profound exploration of the sacred traditions and symbolism of Candomblé. Candomblé is an Afro-Brazilian religion that blends Yoruba culture, centered on worshiping the Orishas (Yoruba spiritual entities governing natural forces and human reality), with Vodun (spirits representing aspects of life like love, health, and prosperity) with elements of Catholicism. Heráclito’s practice follows the Jeje-Mahi tradition, originating from the African Fon and Ewe peoples, which emphasizes ancestor worship and spirit veneration. He is also an Ogã Sojatin (master in the Jeje nation) of a Jeje Mahi Humpame (a temple that worships the Voduns of the Jeje Mahi Candomblé lineage) in the city of Salvador, Bahia. Through his art, Heráclito weaves intricate narratives that delve into the profound and syncretic connections shaped by the legacy of slavery and the diasporas in the Americas, focusing particularly on Bahia, the holy city of Candomblé. Each of his works reflect his genuine devotion and deep investment in Candomblé.
 
In the series “Juntó,” Heráclito delves into the symbolism and tools associated with the Candomblé pantheon, exploring the convergence of entities that guide each human being. In Candomblé, each individual is spiritually overseen by at least two Orishas: one primary and one complementary. In homage to the revered artist Mestre Didi, an eminent researcher of Afro-Brazilian religions and a high priest in Bahia, Heráclito’s sculptures construct images symbolic of the Jeje deities, who are represented not through figurative or anthropomorphic forms but through ritual objects and symbolic attributes. Juntó–Xaxará - Opaxorô com Eruquerê amalgamates three distinct ritual symbols into a totemic form: the Xaxará, a type of broom or scepter made from palm fronds and often decorated with beads or cowrie shells; the Opaxorô, a decorated staff adorned with intricate carvings; and the Eruquerê, a ceremonial whisk or broom traditionally made from the tail of a white horse. 
 
With a similar totemic form, Abebé com Ferro de Ogum combines an Abebé, a circular reflecting fan, with the tools of Ogum. The Abebé is used by Oshun—the Orisha associated with desire and sexuality—when made of brass or gold, and by Yemayá, the major water spirit, when made of silver. Adorned with a mirror, a flower, and intricate ornaments, and flanked by two fish figures, the heart-shaped Abebé is supported by a set of tools typical of Ogum: an anvil, a knife, a shovel, a hoe, and other work tools. Ogum, the Orisha of war, progress, and labor, is a powerful and industrious deity often depicted as a warrior, known for his strength, courage, and protective qualities.
 
Heráclito’s artistic work celebrates the spiritual and cultural continuity within Bahia’s rich religious traditions. His creative endeavors channel the essence and visual elements of the cosmologies that enslaved Africans brought to the Americas and the Caribbean, attesting to their enduring resistance against oppression. They embody the complex cosmological narratives and rituals developed over centuries to sustain harmony between humans, ancestors, and the earth beings with whom they share the world. These techniques emphasize the importance of balancing transformation with regeneration to sustain life and ensure its continuity. Through his multifaceted research, artistic, and spiritual practice, Heráclito challenges contemporary perspectives by exploring how pre-colonial African knowledge can inspire a non-European vision of worlds obscured by Western centrism. 
 
Born in Macaúbas, Brazil, in 1968. Lives and works in Salvador de Bahía, Brazil.