Ruy Teixeira’s first contact with photography occurs at the age of six in his grandfather’s lab. The enchant of the red light projected on white papers revealing hidden images left in his memory a latent image; and in the filing box inherited from his grandfather, Agostinho Camargo Silva, a well-kept treasure. In 1979, he lives in London where he reencounters photography by living with two photographers. Upon his return to Brazil, he graduates with a degree in engineering, and begins to study journalism at FIAM. He then begins his career as a photographer, working with photojournalism, with the Angular agency, covering features for magazines such as IstoÉ, Veja, Visão, among others. In 1986, he starts a new European experience, expected to last two years, which turn out to become twenty-five. After arriving in Italy, he keeps collaborating with Editora Abril, initially covering music shows and then fashion shows. For 10 years he plays in the fashion world working with Costanza Pascolato, Regina Guerreiro, Lilian Pacce, Paulo Martinez, Giovanni Bianco, Ocimar Versolato and other Brazilians in Europe, as well as circulating in the European market.
Covering the runway shows he falls in love with the spaces and the architecture of the locations. In 1994 he begins to dedicate himself fully to design and architecture. Case da Abitare, D della Repubblica, AD, Elle Decor (Italian, French, English, German and Chinese editions), Maison di Marie Claire, T Magazine, Wallpaper, Grazia Casa, Interni, German Vogue are some of the magazines he collaborates strongly with. In 2000, he begins a partnership with Edelkoort studio, which continues to this day. At Li Edelkoort’s request, he realizes many issues of the Eindhoven Design Academy MA degree catalog, collaborates with the magazines View on Colors, Inview, Bloom, and shoots campaigns for Mazda and Pitti Filatti.
During his European stay, he carries out campaigns for the brands: Kartell, Natuzzi, Cassina, Conran Shop, Fendi Casa, Foscarini, Carpisa, Yamamay, Tom Dixon, Smythson, Hermès, Paul Smith, Dolce & Gabbana, Etro, Flexform, Harrods, Selfridges, IWS, among others. Meanwhile, he collaborates directly with designers and architects such as Patricia Urquiola, Tom Dixon, Gaetano Pesce, Fabio Novembre, Andrea Branzi, Ilse Crawford, Michele De Lucchi, Design Gallery, Nilufar.
In 2012, after twenty-five years living in Milan, he returns to Brazil, where he collaborates with Casa Vogue and Bamboo magazines. Among the clients here, Ovo Design, Dpot, Ornare, Etel, Firma Casa, Passado Composto Sec XX, Bernardes Arquitetura, Felipe Hess, Claudio Novaes, Breton, Patricia Anastassiadis, Cinex, Portobello, Cidade Matarazzo. In 2013, he publishes the book Brasília Palace, a photographic essay on the first building made by Niemeyer in Brasilia. In the same year he participates in the book Bloom, edited by Li Edelkoort. In 2015, he publishes the second issue of the book Bloom and launches Desenho da Utopia, with the historian Jayme Vargas, a photographic book that deals with the modernist production of Brazilian design and art. In 2017, he publishes Caderno de Design Arquitetura e Arte with Lissa Carmona – curator and owner of Etel – seven essays that point to different but complementary meanings, and have as stage icons of São Paulo modernist architecture, galleries, the Etel factory and the largest wood archive of Latin America, in the Institute of Technological Research. In November 2017, he exhibits 9 Pieces, opening show of the Etel Gallery in Milan. In April 2018, he presents with the Nilufar Gallery in Milan a preview of the book Studio D’Arte Palma, an essay on the pieces by Lina Bo Bardi and Giancarlo Palanti. In June 2018, he holds the 9 pieces exhibition in the Etel space of the “Collectors Lounge” in Basel.
