Art

Peles/Skins

In this series, I explore the concept of persona, formulated by Carl Gustav Jung, understood as the symbolic masks that shape how we present ourselves socially. The works begin with the construction of faces that emerge from a dense field of lines in organic flows, creating visual layers that suggest multiple identities in constant negotiation. Here, the mask does not appear as an external element, but as a constitutive part of the figure itself. Through a free and intuitive gesture present in drawing exploration, the work proposes a reflection on the boundaries between intimate identity and public representation, revealing how these surfaces overlap, merge, and sometimes become inseparable.

For this series, I worked with figures from the pop imaginary and from history, such as Marilyn Monroe, Amy Winehouse, Caetano Veloso, Barack Obama, Maria Bethânia, Elizabeth I of England, MIck Jagger, Nicholas II of Russia, Paris Hilton, David Bowie, and Madonna, among others.

Medium: freehand illustration (digitized), screen-printed on cotton paper.

Fridge Penguin

The fridge penguin became quite popular in Brazil during the 1950s and 1960s. Today, it is considered a symbol of kitsch and affection, often associated with the nostalgic atmosphere of grandmothers’ kitchens.

During the period when I ran my art studio (2012–2019), I had the opportunity to experiment with many languages and formats. It was also during this time that I began developing signed products and small edition lines. In the middle of this process, I asked myself: what could I create from an emotional and nostalgic reference that would result in an artwork not necessarily meant for the wall? Then it clicked, the image of the penguin came immediately to mind. The result was a series of 300 hand-painted penguins, each numbered and signed, now spread across Brazil, the United States, Spain, England, the Netherlands, Italy, and South Korea.”

Medium: ceramic sculpture, spray, acrylic and marker pens.

New York Diaries

During my time living in New York, I immersed myself fully in the local art scene, galleries, museums, studios, and conversations with artists. It was a period of intense experimentation, open to new techniques and visual languages.

Through an economy of means, a method emerged: drawing over pages from fashion magazines. The existing poses became starting points, each opening a different perspective. The model’s body ceases to be an object of consumption and becomes a support, an improvised canvas for a personal investigation into distance, displacement, and possibility.

The work is introspective, and color enters as an element of openness: it transforms, recontextualizes, and creates a visual refuge where uncertainty gains form and lightness. This is how New York Diaries was born.

Medium: Fashion magazine, acrylic, marker pen & stickers.