Adriana Vignoli

Adriana Vignoli creates objects that shift between drawing, sculpture, and installation. The artist uses mainly materials such as glass, earth, stone, and metal. She has been developing a poetics of simple things, “autonomous and utopian”, which connect the archaic with the present, or even confabulate a future. Her works delve into the subjects of time, landscape, architecture, and constructivism. Those are the result of the influence of Brasília, her hometown and where she currently lives.

The artist holds a Masters Degree in Visual Arts in the field of Contemporary Poetics and a Bachelors Degree in Architecture and Urban Design, both by the University of Brasília. Between 2013 and 2014, she worked at an art studio in Berlin, Germany. During that time, her work was shown at the Nassauischer Kunstverein of Wiesbaden, in the Technical Faculty of Visual Arts in Dresden (Hochschule für Bildende Künste Dresden) and at the Pavillion at Milchhof, Berlin. In 2015, she was contemplated with the Funarte Award for Contemporary Art as well as with a FAC (Culture Fund of Distrito Federal) funding for the individual exhibit “Vãos” (gaps), which will take place in Brasília. She has participated in and developed along with other local artists the project of urban intervention Fora do Eixo, which received funding in 2010 from the Funarte Award for Photography Festivals, Performances, and Regional Salons and, in 2008, the National Network Visual Arts Funarte Award.

In the words of curator and researcher Maykson Cardoso, analyzing the artist’s work, “things reach us in a flash. In the angle of daily life that robs us of detained attention, things present themselves all of a sudden: minutes, hours, days, months, years after having been seen; they reach us, as if they’d never left: auratic – not so far away, not so distant, halfway through – and reveal a facet we did not know we’d never seen before, even though they leave, always, much more at the shadow so they can do other unveilings, in this game of hide-and-seek that cannot end and which no one can win. Things never stop; they do not lose their voice, ever; they just move to the sidelines, from where they emit small signals waiting for schisms, of a tectonic shifting of thought that can make them rise again and rise against us, interrogate us and accuse us, as rocks in the middle of a path that makes us halt and which we can, with some effort, surpass, as long as desire is greater than the fear of inertia.”