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Pedro Kastelijns (1997) moves fluidly between disciplines, including drawing, painting, music, performance, installation and sculpture. His work is usually inspired by personal experiences, emotions and memories, which he then envelops in layers of abstraction. Rhythm, dissonance and contrast play a central role. These elements stem from his fascination with jazz and from the tension between the cultures of the two countries in which he lives: the Netherlands and Brazil. The contrast he observes in public space – ordered structure in the Netherlands, chaos and irregularity in Brazil – forms an important source of inspiration.
At Prospects, Kastelijns presents a series of drawings that address themes of time, memory and longing. The point of departure is the motif of the calendar: a grid of numbers that he repeats, distorts and overwrites. Using oil paint and pencil, he introduces variations in tone, texture and layering within the individual squares. The compositions suggest rhythm and variation, akin to a musical score, but also repetition and the disappearance of days – as if weeks slip by without anchorage. The work refers to the artist’s own diary, filled with notes and crossed-out appointments: a paper landscape in which time becomes both tangible and elusive.
Kastelijns’ drawings were developed alongside his new album, Agora (2026), in which similar emotions resonate. As in his musical compositions, he searches here for patterns that break and harmonies that tilt. In this way, the works become a visual echo of an experience: time that repeats itself yet is never the same; and memories that are carried along but continually shift in meaning.