The latter category of works featured in “Outside the Wireframe” are reflections of Ammerlaan’s experience in São Paulo. On his daily walks to his studio, located in the gritty center of one of the world’s largest cities, Ammerlaan picked up materials—aluminum cans, glass, PVC banner—to incorporate into his works, either figuratively or literally. One such untitled work isn’t just a reimagining of a soda can, in this case on wire mesh glass. It’s a reference to São Paulo’s trash pickers, who collect recycled cans to earn a living—and, by extension, a reference to the economic instability of Brazil itself. Ammerlaan has often professed his interest in peripheral vision, in the details that exist at the edge of the frame. What could be more on the edge of the frame, so to speak, than some of the city’s poorest residents sorting through trash?
In “Outside the Wireframe,” Ammerlaan doesn’t just show a Brazilian audience the works that have made him famous elsewhere in the world. He shows his personal vision of Brazil itself: tough and beautiful.