Visual artist and educator from Porto Alegre, Brazil, currently living in New York, where she seeks places of silence in the city. In her work, the relationships between memory and the activation of real and imagined landscapes materialized in multiple means are unfolded. She researches graphic, textual, and installation resources and the relationships of the body in space.
She has a masters degree in Visual Arts studying contemporary artistic processes at the Universidade do Estado de Santa Catarina. She studied Visual Arts at the Universidade Federal do Rio Grande do Sul in Porto Alegre, with an exchange at the Universida de Vigo, in Spain. She is a teacher and a technician at the metal etching workshop for the Museu do Trabalho in Porto Alegre.
She participated in collective exhibitions in Brazil and abroad, as well as the individual exhibitions “Como conter horizontes” (“How to contain horizons,” 2018), at the Casa de Cultura Mário Quintana in Porto Alegre, and “O mar distrai” (“The sea distracts,” 2022) at the Sala Edi Balot in Criciúma, both in Brazil.
Academic Formation
2020 - 2022 Master’s degree in visual arts – Contemporary Artistic Process
Universidade do Estado de Santa Catarina, UDESC, Florianópolis, Brazil
2012 - 2017 Graduation in Visual Arts
Universidade Federal do Rio Grande do Sul, UFRGS, Porto Alegre, Brazil
2015 - 2016 Academic Exchange in Visual Arts
Universidad de Vigo, UVIGO, Vigo, Espanha
Artist Residency
2023 Directangle Press Artist residency. Bethlehem, New Hampshire, US.
2023 Uncool Artist International Artist residency. Brooklyn, New York, US.
2022 Artist residency “Ações, pressões e impressões” (“Actions, pressures, and impressions”). Porto Alegre, Brazil.
Main Exhibitions
2022 O mar distrai. Sala Edi Balot. Criciuma. Brasil. Individual Exhibition.
Defesas. Galeria Udesc, Florianópolis. Brazil. Collective Exhibition.
Lambe-lambe Faísca Latina. Armazém Coletivo Elza e @artistaslatinas. Guatemala and Brazil. Collective Exhibition.
2021 I Salão Costa Doce de Arte Contemporânea. Museu Bento Gonçalves. Cristal. Brazil. Collective Exhibition.
2020 Um Minuto de Si - Festival Internacional de Vídeo. Espaço Cultural Armazém. Florianópolis. Brazil. Collective Exhibition.
I Bienal Internacional de Grabado y Arte Impreso de Pequeño Formato BIGAI. Museo Evita Palacio Ferreyra. Cordoba. Argentina. Collective Exhibition.
2019 NAI 5 ANOS - 5 anos do Núcleo de Arte Impressa. Pinacoteca IA. Porto Alegre. Brazil. Collective Exhibition.
2018 Como conter horizontes. Casa de Cultura Mario Quinatana CCMQ. Porto Alegre. Brazil. Individual Exhibition.
Registro n 2. Casa Baka. Porto Alegre. Brazil. Collective Exhibition.
Works in collections
2020 Museu do Trabalho; Galeria gravura
2021 Galeria Alumiar
Main Publications
2022 Desfazer a casa. Palíndromo (online). v.14, p.314 - 331, 2022.
2020 ínsito: poesias selecionadas de Anna Wickham. Porto Alegre: Sara Winckelman, 2020.
2020 Dias azuis In: Solilóquios. Ilha de Santa Catarina: Independente, 2020.
Pulsações e desdobramentos: vozes femininas. SALVATORI, Maristela; KERN, Daniela (Org.). Visual essay. Porto Alegre:Marca Visual, 2020.
2018 70 Anos da Gráfica da UFRGS: (entre memórias da impressão). Engraving in Printed Art Catalog. Porto Alegre: Gráfica UFRGS, 2018.
Casa de sal (House of salt), 2021 installation (sea salt)
variable dimensions (aprox. 40 in x 24 in x 24 in)
Part of a series of works made from sea salt, done over a period of livingness close to the sea, in a small town in the Southern coast of Brazil, thinking of a home-body that dissolves into the landscape
Horizonte de expectativa (Horizon of expectation), 2021 object (salt, indigo, and glass) in x 12 in x 16 in
Object made from observing the horizon seen from the beach, mixing sea salt with indigo until obtaining the approximate colors the landscape
O mar distrai (The sea distracts), 2022
Writing with salt on the gallery’s floor
Variable dimensions
Provoked by the experience of living by the sea, this work comes from a wondering writing, which observes the landscape that affects the body, where I retrieve distant memories brought to surface by recent events to think on the undoing of a body on to the landscape
Indestináveis (Undestinable), 2022
Installation
Variable dimensions
Series of bird nests found on the ground during walks, restored using fabric, cement, and paraffin. Each nest received a stamp from my grandmother’s bird stamps collection. When assembled, a text on encountering these materials appears in lower case, and it can be seen with the aid of a magnifying glass
Quando você não estava (While you were not around), 2021 object (wooden box, glass, seeds, letterset)
13 in x 9 in x 3 in alumiar gallery acquis
The work gathers grains of Job’s tears, a plant that inhabits my memories. The seeds are distributed in a white wooden box, closed by a glass in which a following sentence can be read: “sometimes I wish I could hate you”, written using the letterset. It is an interactive work, in which visitors are invited to move it to find the sentence or even write new ones based on the position of the seeds when moving the box
Cualquiera sabe (Anyone knows), 2018
Object (glass box, nails, patch, and postcards) variable dimensions (approximately 31,5 in x 12 in)
The installation gathers nails retrieved from a wood burner, resulting from Julio Cortázar’s book “Rayuela” (‘Anyone knows how dangerous
resulting from the burning of harnessed woods. From the power of this material which went through and resisted many formal modifications, adding informations to that process, a passage dangerous it is to straighten a nail using a hammer’) completes the assembling which also includes the distribution of postcards with the sentence in Spanish and Portuguese.
Rocamadour: amante das pedras (Rocamadour: Lover of stones), 2019
Installation (stone, fabric, and photography)
Variable dimensions (approximately 12 in x 47 in)
Stones wrapped in white fabric printed with passages of the book Rayuela from Argentinian author Julio Cortázar are exhibited along with ten photographs of the city of Rocamadour. Here, the presence of the images comes from the relation between the French toponym and the name of a character from the book. The trigger for this work was the coincidence of encountering a series of small antique photographs, souvenirs for the town of Rocamadour, in Southwest France
55 invented silences - Colection of silences
Installation (embroidery on linen fabric, paper and sound)
Variable dimensions
This installation contains maps and audios with silences I collected for almost a month walking in new york. Looking for that which is between, the vacancies, the spaces that are made invisible, the silences, in a place where silence seems impossible, I understand that this encounter also happens as the creation of a fiction. Those silence can appear as objects, events, spaces/places, and movements.
55 invented silences - Colection of silences
Digital print
60 in x 40 in
A map with silences I collected for almost a month walking in new york. Looking for that which is between, the vacancies, the spaces that are made invisible, the silences, in a place where silence seems impossible, I understand that this encounter also happens as the creation of a fiction. Those silence can appear as objects, events, spaces/places, and movements.
Untitled, 2023
Risoprint and wood type
9 in x 6 in
Untitled, 2023
Risoprint and wood type
12 in x 18 in
No title, 2020
Museu do Trabalho acquis
Etching (photo etching) on paper
15,35 in x 22,45 in
No title, 2019
Litography on paper 15,16 in x 10,82 in
No title, 2019
Etching (photo etching) on paper 10 in x 12 in
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