...Frederico and Aprigio go straight to the matter. They use the wall or the pavement itself as the matrix for the print, and they use the grooves and lines on the material as if they were cut into the wood or plaster block. ...More than anything else these prints seem to witness having been torn from some remote civilisation (which by chance is our own); their harshness and their negative contrast, as with the engravings of Goeldi, have the eloquence of cries.

José Claudio, Olinda, june 3rd 1981

...These works are the fruit of attentive observation on the part of two passers-by, whose eyes have swept the grouud on which they walk; thus they have detected on the cement pavements (and it is worth nothing that the Romans were familiar with cement) a series of events recorded in signs and in writing by anonymous scribes.

...You might almost say thet the artists are in truth archaeologists of the contemporary; ...that the work of the artists is the visual historiography of recent records.

...The outcome is a sort of monoprint map of the pavements of Olinda which, beyond its artistic, historical and documentary value,causes us to think of it as being a sociological work; the drawings, the texts, the signs, the symbols, the textures, all add up to excellent study material for semiology, psychology and the social sciences.

Montez Magno "The Pavements of Olinda : A Matter of Texture". 1982

...I think it must have been one of these lightning strokes of revelation which fell upon two young prophets, the brothers Aprigio and Frederico, through the low-relief forms carved, by anonymous hands from among the people, into the cement of the pavements and into the ceramic tiles of the courtyards of the town of Olinda.

...They had the idea-simple in itself and thus exceeding rare and difficult-of transforming the pavements and their carvings into matrices for prints. The result Is important in the degree to which the two brothers' own normal creative work is added to that by which the people, in a manner which is possible for them, express their own impressive creative power.

...Quite so: when my eyes fell for the first time on the works of Aprigio and Frederico, I was overwhelmed by a vertiginous sensation which seemed to cause me to hover beyond time and its arbitrary divisions into past, present, and future.

Ariano Suassuna," Aprigio e frederico - Prophets of the Pavement", Recifee, 1989.

...Aprigio and Frederico form a curious duo, real brothers including in art, they frequently work together without prejudice to the work which each of them brings to life individually.

...To begin with, they made a study of the inscriptions made on the pavements of Olinda.The intention was not to document but to carry out a work of aesthetic recreation, a kind of existential archaeology, a childhood memory from their days on the streets of Olinda when both went around leaving their scrawlings in the still soft concrete of the pavements. A work which, in its turn, refers either lo the distant past of rock inscriptions, tombstones and monoliths or the current fashion of graffiti. This study had innumerable groupings in engraving, painting and objects.

Frederico Morais,"Existential Archaeology", 1992.