(scroll down for projects) 

Residency, Public Art
(at Socrates Scultpture Park - until Spring 2021)
- If you want to contribute to future bricks fill up the form: https://bitly.com/america-unknown

(un)Monument serie
Research, Serie + Residency

This ongoing research is based on the act of deconstructing monuments upside-down, inside-out, physically or symbolically, in drawings, actions, installations and not-yet realized projects.  This research focuses upon  investigating the stories of the oppressive sculptures erected all over the world and reinvisioning them - with their own rubble. 

What can be made from the fragments of our scattered and unbalanced memory?  How can we honor our “unknown” stories?

Part of this research includes a residency in Portugal (during the artist’s first visit to the country), dealing with the both oddness and familiarity of the colonial culture.  When encountered with  the vast presence of  pillory monuments, celebrated in books,  landscapea, museums, giftshops, and cultural heritage institutions, she faced a ghost of the ‘distant’ past (in her home country Brazil, these pillory monuments are symbols of violence against enslaved bodies). 

What do we choose to celebrate?  What stories and violence still stand in monuments imposed upon us and by whom we are surrounded?  What can be done for us to inhabit a less oppressive landscape? 

The video, There is Distance Between Intention and Gesture, was performed on the final day of the residency in one of Alentejo castle ruins.  Borrowing its name from the music that accompanies it (Tropical Fado by the Brazilian songwriter Chico Buarque and the Portuguese poet Ruy Guerra) the  improvized video documents the artist’s first attempt in dealing with the symbolic rubble of  and unconfortable presence of these monuments. 

- video performance, click here
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, Community
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, Community
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.