My artistic researches are autobiogeographic and are manifested by intersections between the social, the ancestral and the spiritual. Building images, activating possible memories, demarcating original territories in the collective unconscious, crumbling borders and burning herbs to heal colonial wounds. The dimensions of ancestral black feminism to activate the decolonial and counter-colonial are crossed to establish a possible Afro-diasporic-indigenous place. With a bachelor’s degree in Architecture and Urbanism from UFG (Brazil), I created the concept AXÉTETURA with which I make the displacement of the Eurocentric-modern-capitalist epistemic impositions seeking my references of space, territory, place, culture, knowledge and oralizations from the Afro-centered worldview and the Indigenous Enchanting.
Putting my feet on the ground, my walk as a contemporary artist is very recent. Being contemporary, for me, only makes sense if it means being counter-colonial. If every white cube has a touch of Casa Grande, when I create images I need to highlight the need for change in the colonial gaze. I acknowledge and thank the elders who opened these gaps in the institutions of power, for the younger ones to arrive.
I am the manifestation of a lineage that finds itself in crossings between Brazil and Gabon. My work is materialized through the insistence on decolonizing and finding myself, me and mine, being and being in a state of grace, beauty and unity. I don’t want to resist or survive anymore. I want, in the thrust of the waters, to overflow. The movement of the sea is a crossing dance. My color palettes are anchored movements. When I evoke herbs, plants of power, I receive and deliver. In the war of narratives my words are confused with the past. But my time is spiral, and it anchors in what is Axé. Within that territory, I ask permission from the owners of the house and evoke bodies of axé and enchanted to enter the circle. Corps-territory, inheritance and legacy. Every moment is time to recreate our right to life, to commune with human and non-human beings. Word is a spell, the time lost in Euro-Jewish-Christian-patriarchal concepts corroborate the (cis)theme of collective and Earth sickness. Turn to the land, offer her and you the right to good seeds, good fruits, fresh water. Stop the earth eaters. With these intentions I create images, to activate the weave of whispered possibilities in the woods in the astral and unconscious field. Between the visible and the invisible, there is no longer to be implied: The borders imagined by the colonizers need to burn, what was built from what was stolen needs to collapse. Debts need to be paid. I ally myself with the trees that walk, with the underground and flying rivers of the cerrado. In the Afro-diasporic-Pindromic-Abya Yala wheel, it is necessary to be firm and cultivate the revolutionary political act of love.
¹I quote bell hooks, Davi Kopenawa Yanomi, Denise Ferreira da Silva, Igor Moraes Simões, Mirna Kambeba Omágua Anaquiri, Uýra Sodoma and Nêgo Bispo.
Trajectory:
Master’s student in Urbanism at the Graduate Program of FAU / UFBA (2021). Bachelor’s degree in Architecture and Urbanism at UFG (2019). CNPQ scholarship holder at Coletivo Rosa Parks (2017). Artist at NUPPA – Autobiographical Research Center (2018). Exhibition “Enciclopédia Negra”, Pinacoteca, São Paulo (Brazil) 2021; EDP in Arts Award from the Tomie Ohtakie Institute, São Paulo (Brazil) 2020; Exhibition “Construção”, Mendes Wood DM, São Paulo (Brazil) 2020; Exhibition “The waters make a storm” TROVOA, Galeria da Fav, Goiânia (Brazil) 2019; Exhibition “24 ° Salão Anapolino de Artes” Antônio Sibasolly, Anápolis (Brazil) 2019; Exhibition “15 ° Abre Alas” A Gentil Carioca, Rio de Janeiro (Brazil) 2019; Exhibition “A Body in the Air ready to make noise” Museu de Contemporary Art of Goiás, Goiânia (Brazil) 2018/2019. Exhibition “AEAN Arquivo Negro”, Recife (Brazil) 2018. Black Artists La Herida Exhibition, Goiânia (Brazil) 2017.
“#Na Varanda com Renata Felinto: Laços transatlânticos capturados na Terra como Morada“, 2020. Duration: 16’53”
“Entrevista com Hariel Revignet | Artes“, 2019. Duration: 12’13”
“Pílula EDP nas Artes – Instituto Tomie Ohtakie“, 2020. Duration: 2’10”
