For seven years I worked in a hospital as a clinical psychologist and coordinator of an arts project that I idealized based on the work of Dr. Nise da Silveira and educator Maria Amélia Pereira. After that period, I enrolled, not by chance, in a drawing course.
The drawing took me to a new perception of the world. I started to see the shades of a shadow, the relationships between forms and colors, as well as the beauty and the mystery of things under light and shadow. This delighted me. Drawing became a way of expressing what I saw and felt.
Two years later, I went to pursue my master’s degree at the School of the Art Institute in Chicago, where I joined the Art Therapy department. On that occasion, I was able to visit the museum attached to the School and to attend some painting and drawing classes. These possibilities represented a unique experience for the maturing of my regard.
In 2012 I held my first solo exhibition, and since 2014 I have devoted myself exclusively to the work in the studio. I work directly from nature and the things around my studio, focusing my interest in the outgrowths of the line and color. For me, everything is movement, rhythm and color.
And my grandmother sang and sewed. Sang
songs of sea and grove, in old-time language.
And I always believed there was music in her fingers
and words of love on my clothes written.
The verses above from Cecilia Meireles’s poem Desenho [Drawing] defines what I feel when I see someone sewing or embroidering.
I began my career as an artist painting and drawing, but only a few years later I discovered embroidery when I visited an art therapy project, where women gathered round to embroider and share their stories. It was then, when I came across a basted thread on a fabric, that I intuited the expressive potencial of this language.
In 2014, I brought threads, fabrics and my grandmother’s sewing box to the studio and began exploring this universe.