Antonio Sergio Moreira

Antonio Sergio Moreira’s masks and sculptures are very ambiguously related to their own concept, getting inspiration from religious ceremonies, popular parties and a great variety of subjects that put together form the essence of the black power inside and outside Africa.

Concepts and characteristics of those influences may be clearly seen in Brazilian art and celebrations nowadays, from popular regional parties to the powerful celebration of Carnaval all over the country.

In the sculptures crafted by Antonio Sergio Moreira, the viewer encounters a fascinating ambiguity. These pieces symbolize not mere objects of adornment; rather, they serve as conduits between worlds, bridging the sacred and the secular, the ancient and the contemporary. They encapsulate the spiritual and cultural roots of African traditions, evoking a sense of reverence and mystery. Simultaneously, they invite playfulness and celebration, with their intricate details, and theatrical forms whether this is a crafted sculpture, a painting, or a mask. 

The influence of African ludic art, as exemplified in Moreira’s creations, resonates profoundly in Brazilian art and celebrations today. Brazil, with its rich African heritage, has embraced these influences wholeheartedly. From the vibrant regional festivities that dot the country’s diverse landscape to the exuberant and world-renowned Carnival celebrations, the spirit of joy, rhythm, and playful expression is palpable.

Understanding African art requires a deep appreciation of its cultural and spiritual context, which clearly includes elements of celebration and festivities. Therefore, the concept of “ludic” may not be a central feature of traditional African art, but there are many moments where playful and joyful elements are integrated into African artistic expressions.

In popular regional parties, one can witness the fusion of African rhythms, dance, and visual aesthetics, creating a dynamic and lively atmosphere where tradition and festivity coexist harmoniously. Similarly, during Carnival, cities like Rio de Janeiro and Salvador burst into a riot of color, music, and movement, echoing the joyful and celebratory spirit that characterizes African ludic art.

In essence, the influence of African ludic art has transcended time and borders, leaving an enduring imprint on the cultural expressions of Brazil and beyond.

It serves as a testament to the power of art to bridge cultures, evoke emotions, and invite us to embrace the spirit that resides within all of us, regardless of our origins.

Antonio Sergio Moreira’s work and the broader celebration of African artistic heritage in Brazil exemplify this connection, reminding us of the universality of joy and the profound impact of art in all its forms.


Ricardo Fernandes