Marajó Studies

In 2025 the artist took her research to the island of Marajó, in Pará, and for the first time the body became the main material. Forest, mud, mangrove and igarapé turned into a studio: hair mixes with roots and cracked earth, skin takes on mangrove mud until it becomes bark, the body sinks into dark water and returns as reflection, a round mirror gives the forest back to the ground and a figure covered in white crosses stone and dry earth.

The studies end in black and white, with lines stretched between the trunks — the weave the artist had already used to stitch photographs, now set up on site. It is the spider's web and the mycelium her own text speaks of: thread as an image of what binds things without being seen.

The group is in progress: field studies presented in her mentoring sessions with Eder Chiodetto, with no final edit, titles or editions yet.

My artistic research touches on existential and philosophical questions that make me reflect on the origin of life, on finitude and on the connection between beings — living and non-living — dealing with connectivity and the drive of life.

The macrocosm and the magic of existence reveal themselves in nature, in the feminine that generates life, in the spiders that weave their webs and in the mycelia that connect in an invisible, potent network.

I want to activate, in myself and in the viewer, the perception that the tangle of threads and mycelia, of the feminine and of nature, stands for the invisible bonds that tie us to people, to nature, to time and to the Universe. It is a journey between science, physics, spirituality and emotion, in which every connection speaks with the infinite and with the impermanence of life.