education

2018 – 2020 – Master’s degree in plastic arts – University of Paris I Panthéon Sorbonne – Paris – France

2017 – 2018 – Master’s degree in plastic arts, photography and contemporary art course – University Paris 8, Paris – France – University of Paris VIII – UFR arts, philosophy and aesthetics – Paris – France

2010 – 2015 – Bachelor in fine arts – specialty: multimedia and inter media – São Paulo University USP / ECA University – Sao Paulo, S. P. – Brazil

2006 – 2009 – Visual Arts – Federal University of Mato Grosso do Sul – Campo Grande, M. S. – Brazil

1984 – Architecture –
Catholic University of Paraná – Curitiba, PR – Brazil

distinction

2008 – Incentive to Photography Award by the Department of Culture of the State of São Paulo

2003 – Honorable Mention at the 12th Brazilian Salon of Fine Arts – Ribeirão
For that, SP – Brazil

main personal exhibitions

2019 – Lerins and BCW – Paris – France

2002 – Art Gallery H. Espíndola – Campo Grande, M. S. – Brazil

2000 – Art Gallery M. Dolzan – Campo Grande, M. S. – Brazil

group exhibitions

2021 – Vivants at the Espace Frans Krajcberg – Paris – France

2019 – Mains d’Œuvres – Saint-Ouen – France

2014 – Museum Paço das Artes – São Paulo, S. P. – Brazil

2003 – 12th Brazilian Salon of Fine Arts – Ribeirão Preto, SP – Brazil

1999 – Catholic University Dom Bosco. – Campo Grande, M. S. – Brazil

1998 – Luis Otávio Guizzo Cultural Center – Campo Grande, M. S. – Brazil

1997 – Guaicurus Palace – Campo Grande, M. S. – Brazil

1996 – Morada dos Baís Cultural Center – Campo Grande, M. S. – Brazil

1996 – Museum of Contemporary Art – Campo Grande, M. S. – Brazil

public collections

Museum of Contemporary Art – Campo Grande, M. S. – Brazil

Hiroo Onoda Foundation – Tokyo – Japan

motivation

What forces drive us?

I am a painter, born in Brazil. America was exposed to a rich array of indigenous influences, European, African and Asian. In the theory of anthropophagy, taken up by the Brazilian critic Oswald de Andrade in 1928 in the Anthropophagous manifesto, colonized nations should claim their independence by appropriating the ideas and knowledge of their colonizing cultures to reshape them in their own way. In Mato Grosso do Sul where I lived, the painting of the Kadiwéus people particularly touched me. They paint geometric shapes on their skins, symmetrically composed like our body.

My work is constituted in this syncretic vertigo. According to Glissant, there is no language learning if the speaker is not situated in a culture, in an imagination, in a thought, who are themselves dependent on this place.

I exhibited for the first time in 1996, without having a higher diploma, at the Museum of Contemporary Art of Mato Grosso do Sul (MARCO), created in 1991 et, the next year, I exhibited at Palais Guaicurus, two institutions of a State created by decree in 1977.

I wondered what kind of art I wanted to make. Those dimension I wanted to give my work... I needed the intellectual approach. I decided to study. I went to the Higher School of Visual Arts, at the Federal University of Mato Grosso do Sul. But I gave up after realizing that it didn't give me what I was looking for.. Brazil's most famous art school was at the University of São Paulo (USP). I have, SO, emménagé to São Paulo. Five years of full-time training, where we go through all the workshops in all artistic genres. I graduated in 2014.

The art that interests me most was made in the Western European tradition. So, I came to France to learn a new culture. In 2018, I obtained the Master's degree 2 in plastic arts, photography course, at the University of Paris VIII. In 2020, that in contemporary art awarded by the University of Paris I Panthéon Sorbonne.

I am a painter who walks, placed on the threshold from another country. The dimension I am looking for for my work, It is the dimension of my being in the world. To succeed in achieving it, I overcome challenges… Challenges that start with being accepted into a new culture without being smooth for her ; to prove what I am and do; take competitive exams; write many letters and projects. I have to explain in words, in an adopted language, a plastic artistic approach. I am a painter. My semantics are pictorial. How can we describe what is of the order of “percept” without reducing it to a regime of concepts? How to reveal the whirlwind that drives me by being objective, precise and succinct? And, in these conditions, how not to lose passion? How to be receptive to the meaning that emanates from “a small section of yellow wall”, without reducing it to the mode of expression of verbal language? The painting is eloquent, but she speaks without words.