Démarche

The alphabet of my universe has its roots in drawing, which changes scale through the printed image, textile, and sewing. All of this to adapt to the visitor’s space. My work never stops moving away and returning to the sheet of paper. It refuses to be perceived all at once. To achieve this, it plays with large scales, with the encounter of materials, with the hybridization of gesture and computer in a continuous back and forth. It multiplies languages and allows numerous interpretations.

Although there may not always be similarities between different projects, they are connected by recurring formal concerns and common themes. In one way or another, there is always a story of water and a story of the body. Water has become the guiding thread of my research, returning as a refrain or background motif. This allows me to question the world we live in, as depending on its state, it can unite, connect, mix, disconnect, destroy, transform, transport, deform, carry, or drown the environment and things it flows through. Despite its destructive potential, it remains the essence of life, being the recurring motif that drives me in my work.

If my practice has its roots in drawing and water is the fuel of my work, the origin of my gesture, its set in motion, remains in the questions of source and form. The source is uncertain, situated somewhere between Brazil and Europe. It is in this vast expanse over the Atlantic that my images meet and fertilize. As a stateless source, identity issues impose themselves. And it is through different techniques of printed image that these issues take shape. Each technique has its temporality, its matter, its language, and its limitations. With drawing, I reflect, but alone. With engraving and the printed image, I dialogue. To this, the malleability and versatility of textile are added. The other (the unknown) is included from the beginning in the creative process. And before the image is born, the other is the material. The material that refuses or accepts, that constrains or assists. In this dialogue, there is immense pleasure in doing, but also in confiding.

During the production phase, new fields of interest emerge and lead to the next body of work. Thus, each project has its roots in the previous one, drawing from the same source before taking diverse paths. Depending on the chosen technique, these paths will never be the same. The set in motion of ideas and bodies is a second important aspect of my artistic work. This grants the viewer a role as an author. In fact, the viewer often needs to move because their gaze cannot encompass everything at once to decipher the image. My image becomes, then, their image; they are led to their own imagination through unpredictable and unknown paths. I like to lose control of the initial meaning attributed to my images and let the viewer roam freely in their musings, where one story among many is told, one of those stories that connect or disconnect us.

I strongly believe that engaging with the creative realm allows art to influence our actions in the world. Since 2021, my artistic focus has shifted towards addressing political and environmental concerns, emphasizing our impact on nature. Consequently, my recent work centers on specific locations, whether real or imagined, to explore these themes further.