Biography
to be updated
Brought up in an antique shop, I have been drawn to collecting and producing art since I can remember. I have a unique relationship with objects and like to share what I see with other people. This way, I ended up develop- ing my own criteria that tries to metamor- phose and materiali...
to be updated
Brought up in an antique shop, I have been drawn to collecting and producing art since I can remember. I have a unique relationship with objects and like to share what I see with other people. This way, I ended up develop- ing my own criteria that tries to metamor- phose and materialize my feelings and ideas into pieces.
I am also a Gemini. There are many of me in- side this body. The one that made these arts, however, takes over my life in 2015, already at my 58th birthday. I began to overflow what I had postponed for so long. It was as if I waited a long boiling time for this moment in my life, with only mother and grandmother left from the other personas.
Whether it was socialising with artists, creating decorative pieces, or collecting works, a mosaic of influences accumulated in me and sprouted. The energy spilt over into colours that were tamed by paints and brushes.
Self-taught, since the 1990s I have been design- ing furniture for my company. I am like that, I let myself be carried away by intuition. I release through the meaningful objects, the vital energy and provoke new possibilities to expand myself through the art of creating. And that takes up the whole of my daily life.
Now, it’s a little different. To materialize feel- ings, I allow myself to be led and constantly shift roles. With the help of lessons from the Portu- guese artist Agostinho Santos, I was able to bet- ter organise my relationship with painting and define the line that would organise me again. As I am more intuitive, I found in primitivism a way to materialize my imagination, my thoughts and anguishes that surrounded me in this very dif- ficult historical moment of the health crisis.
Because as an artist what I crave is dialogue and expanding experiences. Using yo-yo fabric, beads, threads, leftover souvenirs and scraps, painting, all this was a kind of search, of lost tra- ditions, of alien feelings and intimate rituals. I see each object as leftovers from various places. For me, each trinket is a representation of a part of people and their stories. Putting them togeth- er, I search for the otherness that amalgamates both history with a capital H and the small tales hidden in all the people that inhabit the cities I pass through.
I keep this aspect in my first paintings. I want to awaken the emotion of individuals through the whole and the particular. In which one harmo- nises with the other as we move closer and fur- ther apart. We need this freedom to come and go so that people can cut out of the work what they need for themselves. At least that’s how I see my creation when finished.
The human being is my object. I hope that in leafing through the book, people can have the memorialising experience of bumping into seemingly deranged meanings. But they are not, so I hand over the gold.
Try bringing the face closer to the pages. Then contemplate from a distance. There you have the thoughts of a girl, the universal elements in her that touch and bring people together. There is the experience I had with the women in my family in São João del Rei, the domestic work that supported the house at the same time as it provoked intimate individual transformations in the working process. It has my thoughts on my country. I share my fears, joys, and also dreamy visions.
Because all this in a way saved me from a desert that was precipitating. I evoked all the things from my heart, and they coloured my world. And this is the great story that frames the epi- sodes in the form of works that you find here.
I know it’s obvious, but art is my life. It is me divided and gathered into pages. Nothing else can so faithfully define this book.
