Artist Alexandre da Cunha (b.1969, Saõ Paolo, Brazil) resides and works in São Paulo and London. As opposed to "making," he has called his method "pointing." Da Cunha draws attention to novel and surprising meanings in the objects he selects by "pointing" at already-existing objects that are clearly visible. By using this method, he is able to separate the assumptions and natural reactions associated with specific objects and replace them with new ways of looking at and comprehending them. Da Cunha's sculptures evoke luxuriant promise because of their renewed possibility, shedding light on regular interactions with these common materials. For example, everyday cleaning supplies can suddenly evoke spiritual meaning, and seemingly ordinary industrial ready-mades can be seen as emulating past art movements.

A key component of da Cunha's work is the ready-made. in particular, the ways in which history, narrative, and labor outcomes influence the ready-made. In da Cunha's sculptures, the original purpose and design of an object are preserved. For example, although a mop can be changed into a tapestry, the object's story is still present in the piece. Da Cunha's sculptures thus function as a microcosm that maintains the historical and financial authenticity of the original item. Da Cunha blurs the line between the function of creator and that of laborer by presenting concrete mixers in his Mix (2012-2017) and Full Catastrophe (2012-2013) series that were substantially altered by their previous owners but only minimally changed by the artist. On the other hand, da Cunha's 2018 Ikebana series puts together delicate object pairings. A piece of food packaging highlights a walking stick, a wooden block serves as the hammer's base, and a cast of concrete holds a glass bottle, golf ball, or cake tin.

By utilizing these materials, da Cunha puts his creations in conversation with the modernist architecture prevalent on the streets of São Paulo, the city of his birth. Concrete is more than just a substance; modernism's principles and aesthetics are inherent in it. Da Cunha draws attention to its unintentionally sentimental and even lyrical aspects, despite the fact that it is mostly affordable and functional.

The following are a few examples of selected solo exhibitions: the Museum of Contemporary Art Chicago, Chicago IL (2015); Dublê, Centro Cultural São Paulo, São Paulo, Brazil (2011); Arena, Thomas Dane Gallery, Naples, Italy (2020); Boom, Pivô, São Paulo, Brazil (2017); Free Fall, Thomas Dane Gallery, London, England (2016); the Museum of Contemporary Art Chicago, Chicago IL (2015); and Laissez-Faire, Camden Arts Centre, London, England (2009). Major institutional and private collections throughout the world include the Tate in England; the ICA in Boston, USA; the Museum of Contemporary Art Chicago in Chicago, USA; the Pinacoteca do Estado de São Paulo in São Paulo, Brazil; and Inhotim in Brazil, among others that have Da Cunha's work.