EPIPHYTES
2021 - 2022 Sculpture
Searching for plants that have always been in my daily contact with nature revealed to me these special plant beings that depend on socialization with each other, or with minerals, to survive. Without parasitizing anything on those who offer support, epiphytic plants need companionship. The Epiphytes series wants to draw attention to what can be socially friendly.
Cold ceramics; 10 x 30 x 20 cm approximately (variable dimensions).
Shell middens and other marine-like creatures online talk with the archaeologist Alex Jansen, TBA21-academy OceanUni, Thyssen Bornemisza Art Contemporary, 2022.
SUMARÉ BOARDS
2021 - 2022 Painting
I was born and live in the Land of Tupiniquins, Tupi nation, which used the word “sumaré” to designate a ‘wild orchid’. In Sumaré Boards I remember the name of this epiphytic plant that I research through my studies of the first encyclopedias of drawings of the Brazilian flora. Just like orchids, which only seek the companionship of those who are giving them support, the name ‘tupin-i-ki’ means 'neighbor next door'. On my boards, the incomprehensible name establishes the desire to blur the scientific designation and to establish a new connection with the origin of the plant on this Tupi Land and its original inhabitants.
Acrylic on cotton paper; 42 x 60 cm
RAMI
2021 - 2024 Sculpture
Ancestry and continuity are ideas that lead me to understand the flow of teachings and knowledge that interest me in what I do. Rami in the Italian language is clearly descriptive of these branches and extensions that find me and seduce me. They are continuities of a flow that I preserve as fiber and resistance to the passage of time and temporalities. It is exactly with this thought that ‘ramie’, the name of one of the most resistant long fiber textile plants known to man, supports my poetics: caring for the feminine flow of care to resist the times.
Dry orchid branches, cold ceramics; 4 to 40 cm approximately (variable dimensions).
PASSAGE
2021 Video
Inaugurating my expression in this language, Passage presents itself as an entrance to a new world, or as an exit from a space that is still unknown and explored in the dark of the studio. Among layers of body, work, light and shadow, this temporal journey records a reflection: the interrelationship of things and beings as it happens.
Video stills, 8’40’’original duration.
ALGAE
2020 - 2022 Sculpture
A series of sculptures reflecting the regenerative importance of algae for the oceans. Through amalgamations and interweaving of working instruments, Algae presents the reuse of painting brushes and other developments deriving from this circular approach.
Cold ceramics, 7 x 35 x 2 cm approximately (varaible dimensions).
ATTACCATI
2020 - 2021 Painting
During the most intense time of the covid-19 pandemic, this series condensed thoughts of care for the human collective and the natural world. Consisting of parts to create the whole, Attaccati or Tied explores the possibility of existence through fragments as long as they are united. The pages were held together by pharmaceutical bandage during the time the work was being carried out. After drying, and with the bandages removed, they present the scar of a period of care we went through and the emptiness of what once existed on the planet's landscape.
Acrylic on paper; 84 x 178 cm.
LIGHTHOUSE
2020 - 2021 Video and Photography
During the time of the covid19 pandemic, investigations with minimal and powerful light sources in the dark of the studio made various objects an attractive world to dive in. Interested in the power of this light and in learning from the unknown, I recorded some yet unpublished videos and photos, which together form this new ecology.
Stills from videos, photographs.
GRAVITY
2019 - 2021 Sculpture
In addition to naming the force of attraction between bodies at rest, as described by the law of Physics, Gravity also intends to point out amalgams. Different weights and porosities come together to create stones and marine beings, thinking of earth and water in union.
Cold ceramics and cotton fabric; 8 x 21 x 12 cm approximately (variable dimensions).
LISTENERS
2019 - 2020 Sculpture
One of the examples of works that gain more depth as they interact with other works within the studio or with the public, when displayed. Initially called ‘Shells’, these sculptures fulfilled the role of being carried to the ears as if someone wanted to hear something. In front of the public, even with the separation of showcases, for example, Listeners was the driving force behind some spontaneous narratives. Within the research group on ancestries, connections with feminine traditions, and circles, the Listeners series mediates exchanges and expansion for the collective.
Cold ceramics; 9 x 22 x13 cm approximately (variable dimensions).
MAPPA
2019 Drawing
This series was developed from the orientation of the body in the space through the memory of paths and places that I traveled during my artistic residency at Hangar Lisboa, in Portugal. The first name these works received was ‘Maps of Perdition’ because it captured the moment of the processes that I was interested in developing in the residency. Having internalized the nature of the search I had outlined; I chose a name in Italian based on its feminine gender.
Acrylic, India ink, charcoal, graphite on paper; 100 x 100 cm.
OLISIPO II
2019 - 2020 Painting
The artistic residency experience at the ‘Centro de Investigação Artística Hangar Lisboa’ established a different lens of looking at the world. The encounter with the water horizon and the landscape line marked my interest in living in the city. But not only that, in Olisipo II, the luminosity of the colors also resizes the space of the canvases, in particular.
Acrylic on canvas or linen; variable dimensions between 40 x 30 cm and 140 x 100 cm approximately.
FOSSILS
2018 Drawing and Sculpture
The desire for contact is expressed throughout this series. The processes for constructing the works presuppose touch with the chosen objects, whether for tracing on paper or in decals of architecture and nature. Being sensitive to the surroundings and cohabiting space through the senses brings touch as an instrument of spatial orientation. In light of the findings, the investigation through what is absent brings times and circular ancestral narratives closer together.
Graphite, chalk, on paper; 59 x 42 cm and Cold ceramics; 3 to 6 cm diam. approximately (variable sizes).
CIRANDAS
2018 - 2023 Sculpture
Processes focused on handcraft accelerated my studies on ancestry; or perhaps, my interest in ancestral narratives brought me closer to handcraft more easily. In one way or another, the ‘ciranda’ circle found its space in my work to clearly express the knowledge that has no beginning or end, that opens up for insertions and for the collective. Ciranda also explores the sound of the ceramic pieces that it integrates when rotated in one’s hands.
Wool and cold ceramics; 8 x 32 cm diam. approximately.
SEA BOARDS
2018 - 2019 Sculpture
These looms propose a fluid conversation between the grid of the map, the orderly work of the hands that weave, the linear or non-linear trajectories of the lines and wool, and the tension or relaxation of the gestures of those who work this instrument.
Cold ceramics and wool; 30 x 30 cm.
ARTERIES AND GUTS
2018 Sculpture
The name of strength of this series appeared in the first objects that I manipulated as sculpture. Arteries and Guts addresses the ancestral feminine, and the flow of doing and caring. Through processes that mark presence and absence, knowing and not-knowing, there are often incompleteness in the forms that precipitate the continuity of the investigation.
Cold ceramics, knitting needles, 7 x 35 cm and 2 x 5 cm diam. approximately (varaible dimensions).
