A prominent Brazilian artist born in 1930, left an indelible mark on the art world through his sculptural
works and philosophical explorations. His artistic journey can be traced through pivotal moments and influences that shaped his distinctive body of work.

In 1946, Camargo embarked on his artistic journey at the Academia Altamira in Buenos Aires, studying under the tutelage of Emilio Pettoruti and Lucio Fontana. Exposure to diverse artistic perspectives laid the foundations for his future endeavors. Inspired by Gaston Bachelard’s philosophy, he deepened his intellectual pursuits during his time at Sorbonne, Paris, in 1948.

Relocating to Europe in 1948, Camargo immersed himself in the rich cultural milieu. His admiration for Constantin Brancusi’s work led him to frequent the master’s studio. The influences of Georges Vantongerloo, Hans Arp, and Henri Laurens echoed in his evolving artistic language. These encounters became the wellspring of inspiration for his sculptural innovations.

Neoconcretist Influence and Return to Brazil: In 1958, upon his return to Brazil, Camargo encountered the neoconcretist movement, notably influenced by painter Milton Dacosta. This encounter marked a significant juncture in his artistic evolution, propelling him further into the exploration of form and abstraction.

The period from 1961 to 1973 saw Camargo’s return to Paris, where he attended Pierre Francastel’s classes on the Sociology of Art at the Ecole Pratique des Hautes Études. Operating from his studio in Malakoff (Paris) and alongside artisans in Massa (Italy), he continued to refine his sculptural language, drawing from the rich artistic traditions surrounding him.

Sergio Camargo gained international acclaim, with his works finding homes in prestigious museums and private collections globally. A pivotal moment in his career occurred when, at the invitation of art critic Guy Brett, he showcased the works of fellow Brazilian artists like Lygia Clark, Helio Oiticica, and Mira Schendel at the Signals London gallery, aiding in their recognition in Europe.

Following his return to Rio de Janeiro in 1973, Camargo engaged in a vibrant artistic community, fostering debates and reflections with artists and critics alike until his demise in December 1990. Posthumously, his works continued to receive acclaim, with an itinerant exhibition from 1994 to 1996 and a permanent exhibition space at the Paço Imperial (Rio de Janeiro) established in 2000, commemorating the 10th anniversary of his passing.