Série Limites (Limits series)  Minerals, pigments and acrylic resin on canvas.
Dimensions: 130 x 100 cm; 130 x 100 cm; 180 x 140 cm; 140 x 180 cm. Photos: Xico Chaves.
The Limits series comprises the development of experimentations carried out in natural environments since the first paintings with minerals. Paintings on sailcloth, paper and many other supports were produced in areas of mining, deforestation, craters, erosions, grooves and ravines, where there are minerals and pigments removed by machines and dynamite explosions or even natural phenomena. The works were developed and completed in loco, using clean water from reservoirs, river rapids, waterfalls and dried-up streams. Several layers were accumulated to achieve the intended result: to make the paintings as similar as possible to the backgrounds of the places where they were painted or to the surrounding landscapes. It is an assimilation of forms and meanings of the environment in a mutation process. During the trips in which this series was made, there were caravans and workshops with artists, students and people from the region, who also created artworks and learned how to use different media and pigments. In this same period, Jards Macalé created the soundtrack for the video Xico Chaves – Trajetória de uma pintura pintura [Xico Chaves – Trajectory of a Painting], awarded in Brazil and abroad, directed by Felipe Lacerda e Patricia Bromirsk. “[...] epidermal route on the ever changing geography. Documentation of form and colour of found materials, as stains, textures, scratches, pigmentations and deposits, that the rain, the wind, the sun, the water from diverted streams and destroyed springs rebuild in search of new balance. Painting created under the influence of mutations, remains of objective abstraction of real and imagined shapes, separated by the tenuous thread which changes references under the light, between spirit and matter, deconstruction and construction. A curtain between the retina and the object, where figure and landscape meet and separate, and memory presumes the future” (Xico Chaves, 1993). Video frames from Xico Chaves – Trajetória de uma pintura [Xico Chaves – Trajectory of a Painting], directed by Patricia Bromirsk and Felipe Lacerda.
Série Limites – (Limits Series) development of a painting 
From space to gravity, Nova matéria [New Matter] seeks solidness in its infinite planetary formations, agglomerations, geological compositions, geographies, colours, brittleness, malleability, and poetic meaning, on different kinds of support. The trips and researches in Minas, miners and landscapes resulted in aerial photogrammetric representations of relief, melting, erosions, imaginary physical transmutations somewhere in the universe, as if the planet or heavenly body were always seen from above, sometimes consolidated, sometimes under formation. The search for a habitat and a set of references for existence merge with the LUZZ series, almost always in the background and at the same time integrated with the materiality and matter of the work. These works were shown in several solo and group exhibitions at Galeria Paulo Klabin (Rio de Janeiro), Documenta (São Paulo), Galeria Athos Bulcão (DF) and Palácio das Artes (Belo Horizonte). Minerals and acrylic resin on canvas. Dimensions: 100 x 130 cm; 50 x 50 cm; 50 x 50 cm; 100 x 30 cm and 50 x 50 cm. Photos: Xico Chaves.
Série Nova Matéria (New Matters Series) [1987-1989]
Minerais e resina acrílica sobre tela. Dimensões 100 x 130 cm
série limites [1993 ]
Série Luzz (Luzz Series [1979-1986 ]
LUZZ Series [1979-1986] Works shown in the exhibition Como Vai Você, Geração 80? (How are you, 80s?) at visual arts school at Parque Lage (Rio de Janeiro), forming Chaves’ first solo show at the Paulo Klabin galleries in São Paulo and Rio de Janeiro.
The process of creation, experimentation and knowledge, while working on the previous series, lead to a mastery of techniques and materials resulting in multiple languages and forms of representation. This series consists of paintings on small canvases that work as a whole, or in ordered sets, like a poem-process. Minerals and pigments, a harmonious combination, enable chromatic unity and continuity, suggesting the possibility of infinite combinations and unfoldings. The mastery of the tools, tempera, times, overlays, transparencies and supports also allows for diversification in the construction of forms and colours, and the creation of a uniform language, with sequences of abstract images, landscapes, and figurations. The order can be modified, providing different interpretations. the Nova matéria [New Matter] series to the Infinitos [Infinite] series, objects emerged (Objetos intercalares [Intercalary Objects] series), small interventions and ideas for future installations and autonomous proposals. The Infinitos [Infinite] series resulted in several solo and group exhibitions. “[...] if the strength of the material is established in concrete, definitive solutions, the issue of matter and its consequent discussion is multiplied. The relationship between these two references, like in previous works, forms a unity with multiple interpretations for each work and suggests infinite multiplicity as a whole […] however, the issues previously explained remain, acquiring new meanings” (Xico Chaves, 1991).
Minerals, pigments and acrylic resin on canvas. Dimensions: 15 x 15 cm. Photo: Xico Chaves
Série Infinitos – (Infinites series) sequence in process [1990-1992]
Paintings on canvas made on the smooth sand of the beach, at low tide, and finished in the studio. Just like the series Arqueoplanos, large and medium size pantings were made outdoors, using minerals and natural pigments. The planes are infinitely overlapped in layers of paint diluted with a lot of water. Some of the works included lines and geometric shapes to accentuate infinity or to superimpose constructive, rational elements on the prevailing informal quasi-abstractions. They propose a reflection on the contemplation of the ocean, the cosmic space or the desert. Disparate environments, but able to cause a separation from matter itself, a reason for existence
Marès (Tides) [2008-2010]
The Lummens series – a variation of the Limits series – is also made in natural environments where there are pigments and minerals, incorporating impressions, shapes and residues of scrap found in scrap yards with mining equipment and machinery. It is a kind of archaeology of objects that are no longer useful, that lost their character with destruction and corrosion; an almost undecipherable memory of the remains of something done to nature. A form of “written language” through pieces and matter that are fossilized, that oxidate, rust and once again become part of the earth, in a state of transition. Throughout the series, these bodies acquire hidden and evident meanings, distancing themselves and approaching their origin to form a quasi-abstraction. Sometimes they are combined with languages of previous series, as if they were looking for a synthesis. Constellations are also formed where one seeks to represent spacial archaeology, with a history that is also unknown, in which light dialogues with opacity. During the process of creation of this series, the objects called ‘archaeology of the future’, exhibited in 2000 in the exhibition Objetos Intercalares, are more abundant. Installations and interventions were made in this period at various locations, using the same concept.
Série Lummens (Lummes Series) [1997-1998]
Embossed painting with minerals and natural pigments on cardboard. Outer space written language combined with Brazilian African-Indigenous symbols. Minerals and acrylic resin on cardboard. Dimensions: 28 x 40 cm e 25 x 25 cm. Photos: Xico Chaves.
Queloides (Keloids) 
Arqueoplanos are a series of paintings on canvas and paper following the Lummens series. These works were made on the sands of Praia dos Amores beach, Barra da Tijuca (Rio de Janeiro), and in the artist’s studio, set up in the same place. The pigments, minerals and resins were placed on the fabric, on the sand, at low tide, or on the dunes, where they were painted in different layers, drying times, and the inclusion of marks and objets. The proximity with the ocean, the canal, and a colony of fishermen enables the inclusion of several organic shapes and debris left by the passersby. It is as if the geological phenomena happened over time, in a place where land meets water, allowing an interaction between both elements. The objects simulate dialogues between them, in time differences, at conjectured historical distances that are, however, very close. It is as if a layer of fossil sediments from 2,000 years ago were only a few millimetres apart from a modern industrial object; as if fossils of fish bones and an empty toothpaste tube were almost on the same plane. The painting merges with reliefs and textures in order to incorporate minerals that do not exist there, that were brought from far away, with the sand and sediments. The presence of living or dead elements is emphasized, seeming to exist almost simultaneously. Ephemeral or permanent, it does not matter. The important thing is that they left traces, due to the intervention of a third agent, either human or geographic. Planes are interspersed and not defined only by the eye. Reflections on the concept of time, matter and materiality develop to support the multiplicity of the objects and paintings that emerge at the same time, in the studio and in the place where the paintings are created, transformed into a large space for outdoors experiments. This process results in a near saturation of forms, volumes and “things” that will be integrated and form a set of fragments and “interspersed objects.”Arqueoplanos 04, 05, 06, 07: Minerals and acrylic resin on canvas. Dimensions: 130 x 100 cm.