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The artistic trajectory of Claudio Barros intertwines with social experiences, education, and urban transformations. Since the 1980s, his pictorial practice has been built at the intersection of artistic training and community engagement, consolidating an expressive and singular body of work. Influenced by figures such as Carlos Scliar, Barros develops a practice that moves between painting, collage, and photography, engaging with the fragmentation and juxtaposition of elements drawn from the urban landscape. His production is structured around the collection of discarded materials, images, objects, and everyday scenes, which are reorganized into a visual poetics of resistance and experimentation. Strongly referencing cultural anthropophagy and the phenomenology of perception, Claudio proposes an "aesthetics of improvisation," where dismantling and reconstruction reveal his critical vision of the world. The concept of "Desobjetos," coined by the artist, reflects this relationship between improvisation and symbolic construction, where the support itself becomes discourse. His works create sequential imagery that re-signifies urban fragments and explores the expressive power of contemporary painting. In his own words, "I seek to affirm a point of view that creates a relationship with other places—divergent, insistent, resistant—in the perspective of re-existence." Claudio Barros positions himself as a painter of his time, committed to history and social urgencies, transforming reality into art. His work not only records but also establishes new possibilities of perception, reaffirming painting as a powerful and necessary language for today.