Olho da Terra
–Eye of the Earth
Residency, Performance, Installation
São Paulo, 2019

The performance and its consequent installation is the outcome of a one month residency, reconnecting the artist with her hometown and research on its foundational site. The studies of the knoll where the city began started in 2013 for her first solo show, where she conducted investigative walks from the center of the knoll to the city’s outskirts. Inhampabuassu (the Eye of the Earth in Tupi-Guarani language), is a location where displacement, bloodshed and subsequent monuments teach us about historical amnesia and the shared stories of colonization across the Americas.

For this residency, she researched the symbolic force of this ancestral site and the symbology of its original name (a fact little known by most of its inhabitants). The work relates to the artist’s ongoing research on “navels” of the land, sites that give birth to places and their myths across multiple cultures. Reflecting on São Paulo’s navel, a symbolic knoll was created in the center of the residency exhibition room, made with the city’s natural soil (disposed by construction sites). While creating a direct relationship with raw earth, the perfomance reconnects body, place and matter, an act of reconnection with the land, its ancestrality and the sense of belonging.

- video performance, click here
– text by curator Julie Dumont on the residency, click here
A State of Balance [with Tewa Women United]
Residency, Site-Specific
Española, 2018

“In Tewa Pueblo world, health is thought of
as a state of balance between human and natural environments.”     Rina Swentzell

During the Equal Justice Residency at Santa Fe Art Institute I started working with with Tewa Women United, a Native women-led organization in Northern New Mexico. Together we envisioned a spiral garden, made collectively with the help of the youth and volunteers.

The project was completed with cylindrical ceramic vessels, used for irrigation by collecting water and slowly perculating it to the dry lands of Española Healing Food Oasis. The rim of the vessels were kept outside of the earth, forming a clay circle with engraved words by Rina Swentzell - an important local elder at Santa Clara Pueblo.

- more about the Española Healing Food Oasis, by the writer Alicia Guzman, click here
– more about Tewa Women United, click here
To Open the Ground
[a navel to Burnside]
Residency, Site-Specific
Detroit, 2017

The circular dug space is a navel for Burnside Farm Detroit, located at the center of the urban farm. This earthwork is the outcome of a 12-week residency, working directly with the land and people that constitute that diverse community. It is a gathering space, a place to ground and a stage for activities on healing, meditation and celebrating difference.

Together with the earth-work, an installation and exhibition were open to the public to share images, drawings and references that give new layers of depth to the work.

It is an on-going project and, as the other elements of the Farm (the house, the garden, the garage...), is a place that will keep growing over time, necessity and care.  

- video-performance made by the end of the process
–more information about Burnside Farm click here
To Recall The Absent

Residency, Site-Specific
Pecos, New Mexico, 2016

The symbolic site was created by mowing a round form in the natural vegetation and placing a flag to honor each cardinal direction. The installation’s locations, form and materials reflect on the natural and cultural presences found on site.

The drawings on the flags (made with ceramic base, wooden pole and oil pencil on polyester) create a dialogue with elements of identity of this place that are less visible.

The work invited the visitors of Pecos National Historical Park to be present in the midst of its sacred landscape, a location that is usually closed to the public.

-check a video-walk to the installation in click here.
Em Algum Lugar Entre a Terra e a Casa
–Somewhere Between the Land and the Home

Residency, Collective, Site-Specific
OC Oswald de Andrade, São Paulo, 2015-6

The collective residency celebrates the encouter of the 5 female artists (Renata Cruz, Laura Gorski, Flavia Mielnik, Alessandra Duarte and Bel Falleiros) that shared a historical house in the backyard of the art institution as their studio. Embraced by the space of the ‘casinha’ - the worked alongside while relating to the themes of inner and outer space, the idea of a home and the female presence.

After 3 months of cohabitating the space, they presented a final installation that reflects the architecture of the house and the things that happened inside its walls, blurring notions of authorship.

Navels of the world
[mountains, omphalos, zeros...]

The serie contributes to the research on land identity by myths and landmarks that are shared and universal across different cultures. Focusing on the idea of the starting/emerging point of a place/people, the drawings, photos and trips investigates how these symbols are the represented in the landscape.

The ongoing research features Sacred Mountain, Navels, Zeros, Omphalos (navel stones), Menhirs and other imagery that materialize the idea of this 'zero' from where we came in diverse places around the word (or in mitological and spiritual space). 

What our shared symbology can teach us about the how we human relates to the earth we all inhabit? What are our needs as beings to feel grounded in the landscape we live?