Over the centuries, the arts, especially painting, have portrayed "the landscape" and its changing dynamics in different times, contexts and situations, becoming almost a genre in its own right, independent of any artistic movement. Sometimes represented as a backdrop, other times as the main subject, given a vast inventory of represented landscapes, it has become a challenge to bring something that takes us out of the ordinary, or rather, the ordinary landscape. With his series GEOMETROGRAPHY, artist Romulo Bandeira invites us to explore other forms and dimensions of rural and urban landscapes in the state of Rio de Janeiro. The first series of paintings was created during the COVID-19 pandemic, when the artist retreated to a rural area in the mountainous region of the state. There, within another time, he was able to focus on the landscape around him, in a daily exercise of observation and geometrization of what was before his eyes. In a play on words and meanings, GEOMETROGRAPHY mixes geometry and geography, subverting rules and spaces, abstracting dimensions of supposed reality, placing everything on a plane filled with geometric shapes that suggest to the viewer that they can reconstruct the landscape suggested between the figurative and the abstract from their own repertoire. Romulo's strategy is to activate these geometric figures that, together with the colors, form a whole, recomposing a vast landscape that is perceived by all of us as strangely familiar. Between 2023 and 2024, the artist will create a new series of paintings that, in their own way, refer to the urban landscape of the suburbs and outskirts of the city of Rio de Janeiro, areas he knows well, having grown up and lived in the North and West zones. Once again, the artist resorts to the "geometrification" of the landscape, once again creating an interaction between geometry and the environment. However, this time we feel closer to the image, in a cut that suggests a more compressed space, as if the figures had been reordered, juxtaposed, reflecting the change in the landscape and its often precarious, abundant and almost chaotic manner of occupation of houses upon houses, figure upon figure. At first, when looking at his paintings, we miss the representation of the human figure, whether in rural or urban landscapes. How wrong! In the artist's game, the human is there, not in form, but in action, in the transforming action of the environment, nature stained by houses, lights, dams, plantations, roads, posts, walls, roofs, doors, water tanks, stairs, windows. Romulo plays with geometry and, in the end, we play together, using our imagination and capacity for abstraction, breaking rules and recreating our own landscapes. While the first paintings depict the rural and inland environment of the state, the set of paintings that make up the new series portray the urban landscape from the perspective that forms Romulo's artistic – and also moral – character: the suburbs and the outskirts. The geopolitics of the city, the right to spaces and the different changes in the landscape influenced by urban nuances, such as precariousness and abundance, security and violence, the possible and the desired: everything is there, making clear his artistic strategy, which consists of activating geometric shapes subjectively to open up infinite possibilities of interpretation that are in these spaces encountered by the artist. The work is rooted in the interaction between art, geometry, the environment and human perception. In the work, geometric figures are explored not only by their parts, but by their totality. This approach redefines traditional perception, leading the observer to develop a contemporary geometric thinking, in which the space represented in the proposed surfaces is recognized as something that echoes in its daily surroundings, whether close or far, placing its perspective in a position between the figurative and the abstract of forms. From this foundation, the viewer is encouraged to explore the connections between visual representations and their characteristics. This process culminates in a level of abstraction that enables the viewer to transcend the materiality of the elements, providing a subjective view of the landscape. From a technical point of view, Romulo Bandeira invites the viewer to go with him from the digital to the manual, making the fusion between contemporary design tools and manual painting techniques a fertile ground for his production.