Da Cunha’s introverted form of artistic practice is centred on a negotiation with techniques of materiality. It often involves a close observation of the object, as it reoccurs within the conceptual canon, but with a direct intention of transgressing and indeed challenging this inevitable historical quotation. The treatments which Cunha’s objects forgo are related to the spatial architectures of the Brazilian modernist environments he grew up in, where form is manipulated to envelope and isolate the human body. By this logic, da Cunha relates studio practice to home cleaning, both as environments in which the body becomes an agent for the clearing of space, making way for a blank slate. Domestic symbols and the products of manufacturing and leisure industries are rid of their hierarchical functions acting simultaneously as objects, artworks and artefacts.