Shoker was born in 1985 in São Pauloʼs East Side, where he lives todate.Staring off as a child with a swollen artistic vein, one can say that young man built himself a truly outsider career. East Side was the stage where this autodidactic, perennially curious artist developed his creative work. Although coming from a part of town with fewer access to mainstream cultural institutions, the young man turned lack into plenty.

Seclusion has become the motor of his skill and competence. East Side is a place where oneʼs esthetic sense is built through spray on the wall, not oil on canvas; there on the outskirts of town Shoker found beauty amid urban decadence, glancing color behind the grayish metropolis, finding out grandeur in scarcity, creativity in hardship.

For 10 years Shoker has been working on the so- called boneration. Bonerator, Noun Portraying themes,

characters, historical figures as penises; through an abstraction exercise, it turns the phallus into something real, normalized, a common currency. It consists in the demystification and caricaturing of something taken for granted, from childhood to old age, as a maximum symbol of masculinity, all in

an act of debauchery of sexual politics. As for his style and techniques, the artist works above all with paper, canvas, plaster and wood. To date Shoker has produced hundreds of thematic phalluses — what the local public intimately call “pirocas” — based on Biblical characters,

political leaders and popstars. This collection ranges from Nietzsche, Freud to Romero Britto, Miley Cyrus,

the Brazilian moviemaker Coffin Joe, the Grim Reaper and others. Real, fictional figures, social

groups and contracultural profiles form the portfolio of the artist.

A remark on his creative process: inspirations come from everywhere and anywhere, as Tristan Tzara once

said: “I create since itʼs natural to me; just like I piss, just like I get sick”. For the artist creativity must be something malleable, perfectly adjustable to the environment, “a spark of the Divine” as Shoker

says. And then, it is done. There go some artefact of utilitarian art, some clothing pattern, an apotheotic phallus. One cannot allow that oneʼs work be deprived of inspiration. One adds to the other.

His references come from praxis, from the arduous all-day life of the outskirts; from the bonds with

hundred of people and places where he lived or walker around, besides emotional connections which has helped to enriched his repertoire, building up what today Shoker represents.