The symbolic weight of each part was important. Seeking its origin in the theory of creative process, beyond the aesthetic, a poetic way. The matriarch technique known for their strength of cultural code and perpetuation of collective belonging, rooted in the practice of symbols of everyday life, which for hundreds of years, people have created legacies of tradition in clothing and utility articles, brings a philosophy for the artist, where he appropriates the meaning of "everyday life" (“Cotidiano” in portuguese) - which comes from the Latin Cotidie or cotidianus, with the meaning of daily, the day to day and the ordinary. The aim of reflecting on the everyday is exactly seize the unusual on repeated daily acts.

 

           If in the history and the significant technique he found his creative transformation, his private universe, the current time, it brings a space force to explore his artistic thought, in an analog parallel -  creating oppositional narratives and the rediscovery of the possibilities that give sense of continuity, brings him a consistent narrative. From this thought, the artist today, created three distinct ways of using the technique to his trajectory:

​

          Graduated in Fashion, passing through contemporary art courses at the EAV School of Visual Arts of Parque Lage and goldsmithing by SENAC, in the year of 2012 he made his first individual exhibition in the National History Museum of Rio de Janeiro, with the series “Heirs of Tradition” where he appropriates 5 chairs and armchairs of 5 world renowned Design icons to deconstruct and redefine them. He also signed other exhibitions, such as the Museu da Casa Brasileira with his Migramah Swing seat.
         Through his project “Balanços” characterized by the swing seats, he proposed to the public a rescue of their childhood, using the swing object as relational art, appropriating the ancestral art macramé and resignifying it.

         As for the Neo-concretists, for Alander the public is part of the work and proposes a sensory relationship of an affective experience. With his challenging personality and his attempt to bring life to his installations, the artist invites the viewer to experience the unusual in the common object, from repeated movements that brings the reflection of his own work. At each node of the macramé frame and in the resistance of the material, the barrier of the sculptural object is broken in the technique of repetition, and the action is found. Like a mantra, Alander creates his poetry and brings the form and the materialization of his answering thought.