The following dissertation analyses the artistic production of the painter Eduardo Sued from the seventies until today. Using the husserlian method of return to things itself, it does a phenomenological analysis of his work. Sued’s paintings are analysed through its formal aspects as the primary source for the interpretation artist’s plastic thoughts. Relationships of influence were established between Sued’s paintings and those that determined its production with special enfasis on the works of Mondrian, Matisse, Picasso and Morandi. In addition to that, it also looks into his divergence from the Concrete Art and Informal Abstract movement that were mainstream at the time of Sued’s formation years in Brazil. The transcript of a series of interviews with the artist done during this dissertation research is attached.