"Mícoli draws from the potential of religions. The rites and adornments of the people from the Americas, Asia and Africa constitute the sign-laden material of his work: the religious aesthesis reifies, reconnects."
"The artistic gesture of doing, employing the patient and meticulous handcraft practice to articulate, weave, tie, sew, brings back ancestral civilizing practices and places them against the rationality of the formal expression. The artist employs minimalism, seriality, repetition, reifying the codes and stimulating the dialog with the observer."

Lisbeth Rebolo Gonçalves - 1996
Itinerant Exhibition through Latin America and MAC-USP

... "The atmosphere of casualty that emanates from Mícoli's drawings, where the lines momentarily play of meaning this and that - a foot, a fish, a plant - to be shuffled in the next moment, pointing to ineffable possibilities, that refuse to be captured, explicit the process through which we etch our presence in the world, a process where one conforms to the other."

Agnaldo Farias - 1998 
Individual Exhibition Nara Roesler Gallery S.Paulo


... "From the height of his study, the artist oversees part of the metropolis of São Paulo. It is from this perspective that he brings back - almost as if in meditation - an ancient activity: to braid, to puncture, to sew, to dye. There is a certain reverence in dealing with materials, a restraint in handling, a management of resources. The plastic solution retains the formal concision, the shape/color integration, the exactingness typical of his work. It is not about a romantic approach of the primitive. The works refer to a Neolithic culture without becoming exotic or evoking the banality of crafts. There is a plastic intelligence in these objects whose latent sensuality attenuates any constructive rigidity. According to zen teachings, it is the thought of the archer that guides the arrow to the target."

Maria Alice Milliet - 1994 
Solo Exhibition MAM - S.Paulo


"In his present production, the phase of going back to the past of Art's History has already been overcome, and Mícoli seems to have found, at last, an area before the beginning of History, the original notion of the artist, that semi-god that, exerting action on matter, organizes chaos. If we follow his process in the past few years, we will see how the artist little by little makes this journey back to the mythical figure of the artist, through - initially - the use of signs from several cultures for the development of his works."

Tadeu Chiarelli - 1988 
Solo Exhibition Espaço-Capital Gallery/ Brasília


"His kaleidoscope mixed everything: Caribé's drawings from the 50's and 60's; Sued's paintings; fish weather vanes from Liberdade, the Japanese neighborhood in São Paulo; Indians' art with feathers and body painting; African art, with its masks and sculptures; and a great love for the Babylonian chaos, the anonymous panels scattered around the cities, the eyes closed in dreams and nightmares, the natural architecture of shapes and the nature of desires.
"Now I am doing the vocabulary of my signs, that sometimes appear apart, sometimes together", said Mícoli. He spends his time sketching on sheets of paper where he puts his synthesis, and won't go to canvas before feeling full of images-synthesis.
...Rewriting life, this is right. What the eyes captures along the avenues is not only geometrical; and passion is not abstract, as pain is not only tangible; in the same way, dreams do not border only surrealism, but also Mondrian lines; thus, nothing silences anxieties, not even madness. "There was no heavenly path and men discovered their bloody drunkenness", wrote Nietzsche. "And so magic was invented."

Miguel de Almeida - 1985 
Individual Exhibition São Paulo Gallery