Jaildo Marinho was born in Brazil in 1970. He lives and works in Paris since 1993 but divides his time between France, Brazil and the United States. He studied sculpture at the UFPE-PE in Brazil and then became a teacher at the Art Sculpture and Foundry Workshop of the city of Paris from 1999 to 2004. In 1991, the Casa da Cultura de Pernambuco in Recife offers his first monographic exhibition, then barely 21 years old. Since then, he has participated in numerous group exhibitions and every year a personal exhibition is dedicated to him. In 2004, he created a large sculptural project at the Historical Library of the City of Paris and in 2012 at the Maison de l'Amérique Latine in Paris. His works are acquired by several public and private collections around the world and he won the Gold Medal at the International Festival of Mahares in 1995 and the 3rd Prize of Sculpture at the Biennial of Malta in 1999.
Jaildo Marinho started very early, from his childhood, to work the material, to work as a sculptor. But it is a revelation, soon after his arrival in Paris in 1993, which marks his artistic practice forever. He has just become aware of the possibilities of emptiness. The notion of emptiness is essential in the work of Jaildo Marinho. Thanks to a subtle work of geometric shapes and color, his marble sculptures defy the laws of gravity. Between fullness and emptiness a range of variations and metamorphoses develops. He tries to make sense of what we do not see. His achievements are at first simple blocks, hard, almost inaccessible. Then, with his hands as a sculptor, the artist carefully digs and encloses this void in a geometric form, in a sculptural shell.
To develop this work around the void, Jaildo Marinho turns to marble, that of Carrara, homeland of all sculptors. He loves purity and the white color that offer him many possibilities and capture this much sought after light. The massive aspect and the binding weight of the marble are swept by the sculptor who offers with virtuosity works with the light pace and put in a perfect balance on a single point of contact. At the work of the material associates a work of the color. This one is arranged by acrylic painting which puts in scene the regular perforations of the marble. This recurring and permanent color is used spontaneously by Jaildo Marinho, thus employed according to the desire that the instant gives him. This colorful game highlights voids that become openings to other possibilities of perception and design of works. It is important for the artist to play with the material and the purity of the marble is colored by the reflections of these "flashy" acrylics.
Jaildo Marinho is not only dedicated to marble work. He also proposes paintings, always printed by this identity that is the void. The work of sculptor and the work of painter form a balance in the work of Jaildo Marinho. His paintings are also very sculptural. The artist starts from the traditional format of the painting that he digs to give back his place to the void. Then, a link composed of lines connects the two surfaces then separated to highlight this space left to the questioning of the spectator. These creations made mainly from wood as well as cotton or nylon threads, also pay homage to the tradition of painting on wood. The titles of Jaildo Marinho's works are very important. Offering sculptures and geometric paintings and whose meaning is not always perceived at first glance, the title tells the story of creation. In this way, sculptures such as Navete refer to the hull of a boat, a shuttle; and Papillon-Paris evokes the multiple colors of Paris, a city of adoption, and by its structure reminiscent of the wings of a moving butterfly.