Gustavo Speridião’s approach to making art is governed by the idea of kino-glaz, a Russian avant-garde film technique roughly translating to “cinema-eye.” Speridião shares in its idea that the artistic medium must mimic the human eye, applying the technique to explore situations of everyday life. His multimedia practice includes drawings, collages, paintings, installations, and assemblage sculptures, though he is perhaps best known for his photography and film. Speridião’s work is characterized by its witty juxtapositions of images, attention to language, and attention to framing and color. His work both engages with and criticizes the history of art, traditions in photography, and contemporary visual culture.