EXHIBITONS
2026 | Summer Occupation II – Abapirá | Rio de Janeiro, Brazil
Selected for the group exhibition Summer Occupation II, curated by Juliana de Moraes Monteiro, I presented a painting that interweaves mythological and historical narratives surrounding the relationship between female bodies and water, weaving together lived and imagined memories, emotions, and temporalities.
Integrated into the work, a QR code gives access to an audio recording of women singing by the river. Their voices extend beyond the pictorial surface, allowing sound to become presence, vibration, and living memory while creating a multisensory experience that dissolves the boundaries between image and listening. The ancestral gesture of weaving serves as a conceptual thread that binds these languages together, proposing a poetics of continuity, care, and reinvention.
2025 | Before It Dries Up - MGV | Rio de Janeiro, Brazil
Before It Dries Up, a solo exhibition presented at the Getúlio Vargas Memorial and curated by Thaís Basílio, approaches water as matter, memory, and mystery. Through paintings and sculptures, the exhibition unfolds narratives interlacing the feminine, ancestry, and the tensions between life, loss, and transformation.
Familial memories converge with imagined landscapes, while bodies, fish, and domestic objects surface as vestiges of lived and imagined histories. Rather than offering answers, the works invite viewers to immerse themselves in a search for what remains submerged and must be brought to light before it vanishes.
Like a body moving against the current, the exhibition reimagines water as a locus of memory, resistance, and continual transformation.
2025 | 100 to 1000 - Galeria Tato | São Paulo, Brazil
Selected to participate in 100 to 1000, a project and group exhibition conceived by Galeria Tato, I took part in an initiative dedicated to broadening public access to contemporary art and expanding its circulation.
Presented annually for more than eight years, the project assembles works by emerging and mid-career artists, drawing inspiration from the historic European and Brazilian art salons, where paintings and other artworks densely covered the walls from floor to ceiling. By bringing together a wide range of artistic practices, formats, and trajectories, 100 to 1000 cultivates a dynamic and accessible exhibition experience, encouraging new encounters between artists, artworks, and audiences.
2025 | Trincheiras da Alma - Largo das Artes | Rio de Janeiro, Brazil
In the group exhibition Trincheiras da Alma, curated by Rubens Takamine with contributions from Viníciux da Silva and Maíra Marques, I presented a painting that examines the disciplinary nature of the social and emotional responsibilities historically imposed upon women within the domestic sphere.
Enclosed within a freezer, the figure remains immobilized among dishes, clothing, and food. These everyday objects become vestiges of the identities assigned to her as mother, wife, daughter, and caregiver. Yet the thaw has already begun. Sustained by a quiet but irrepressible force, the body transforms confinement into an act of testimony and gradually reclaims itself as a site of resistance.
2023 | The Great Circus of the Patriarchy (G.A.F.) - Canteiro | São Paulo, Brazil
Group exhibition The Great Circus of the Patriarchy, presented at the Canteiro cultural space and curated by Talita Trizoli. Bringing together twelve women artists from different regions of Brazil, each with distinct artistic trajectories and practices, the exhibition marked the culmination of months of collective research into constructions of masculinity, a subject historically seldom examined from the perspective of women artists.
Through painting, drawing, video, sculpture, and installation, the works articulate desires, tensions, and contradictions surrounding masculine identities. Grounded in the artists' lived experiences, the exhibition critically examines the normative structures of the gender binary while proposing new ways of imagining gender, power, and social relations.
2022 | Idolatrada Salve Salve - Fábrica Bhering | Rio de Janeiro, Brazil
Held in the month preceding the national elections, Idolatrada Salve Salve brought together artists reflecting on the political, economic, and educational landscape of Brazil, as well as on territorial disputes and the ongoing processes of epistemicide affecting historically marginalized communities. The exhibition sought to investigate the strategies of resilience developed by ancestral communities in the face of adversity, drawing upon forms of sociality forged through ritual. Visual languages, symbolic materialities, and the seemingly ordinary details of everyday life acquire ritual significance, revealing the ways in which collective memory and cultural practices persist across time. Idolatry and salvation, terms deeply rooted in the vocabulary of spirituality, are reconfigured here as conceptual devices through which the exhibition reflects on the political and transformative potential of art.
2022 | Porto ao Porto - Fábrica Bhering | Rio de Janeiro, Brazil
Porto ao Porto was a curatorial project developed across two exhibition editions, circulating small-format works between Brazil and Portugal as a way of fostering artistic exchange and strengthening the dialogue between the two cultural contexts. Transported in a suitcase between Rio de Janeiro and Porto from 2019 to 2023, the exhibition brought together works by Brazilian and Portuguese artists, transforming the act of travel into both a curatorial gesture and a means of cultural circulation. The curatorial framework emphasized the intersections between artistic practice and curatorial experimentation, highlighting the artists' active involvement in shaping the programs developed by the participating institutions. Building upon previous collaborations, the project also established a foundation for future initiatives and enduring exchanges between the two artistic communities.
2021 | Ima(r)gem Feminina - FBAP Gallery | Porto, Portugal
Developed within the framework of the Master's program in Painting at the Faculty of Fine Arts of the University of Porto, Ima(r)gem Feminina brought together works that critically examine the cultural construction of female imagery and the mechanisms through which it perpetuates stereotypes, structural inequalities, and forms of symbolic violence.
Through painting, photography, and interdisciplinary visual practices, the exhibition interrogates representations historically shaped by the patriarchal gaze while affirming women's agency in constructing, reclaiming, and redefining their own images.
2020 | Perceptions - Quadras Soltas Gallery | Porto, Portugal
In the group exhibition Perceptions, curated by Pedro Santos Silva and presented in Porto, Portugal, I exhibited two paintings that investigate states of uncertainty, displacement, and encounters with the unknown.
Set within architectural environments suspended above darkness, solitary figures navigate precarious passages, approach thresholds, and contemplate expanses of emptiness that resist certainty. Suspended between the impulse to move forward and the possibility of falling, the works transform architecture into a psychological landscape where perception dissolves the boundaries between reality and imagination. Here, emptiness ceases to signify absence alone and instead emerges as a space of hesitation, choice, and latent possibility.