Zignnatto’s origins lie with indigenous peoples, being a descendant of the Tupinaky’ia and Gûarini groups, and he is also the grandson of a bricklayer, for whom he worked as an assistant from 10 to 14 years of age, besides being a social activist. Zignnatto incorporates his biography into his artistic oeuvre, bringing together art and life, integrating history, memory and territory to the matter and form of his work. In pieces emerging from the universe of labor, such as pottery or building,  fragments and leftovers from urban interventions, such as cement bags, bricks, mortar joints, in his hands become raw material for an artistic drive that seeks to reach beyond the imitation process, recreating worlds, structures, and systems, in an artistic proposal of radical invention. Which includes the art system. From constructivism and minimalism to conceptual art, Andrey explores the adventure of the experience of being in the world, opening cracks and breaches, concrete and imaginary, to establish fresh aesthetic unfoldings that also indicate paths of identity and social reconfiguration. If, in peripheral societies, “everything is always under construction and also in ruins”, as he says in one of his works, Zignnatto, with extensive international performance, does not hesitate to intervene, to propose, equalizing in his art forces from distinct and complex universes, such as the urban and the indigenous.