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painting series 


spider webs on acrylic on paper

The memories, the dreams, the houses, the intimate. The migrants, refugees, women, queers, the gardens. The wars, the disasters, the lost ones. The first loves, the last, the uncounted, the humanity.

What happens to the abandoned? 

In this investigation of abandonment, the close look finds life, strength, movement, network. It finds webs, spiders that weave their houses in abandoned territories and bring to them new vivid ecosystems.
The series uses real spider webs, physically and metaphorically, to highlight the level of technologies working for life that happens out of the centrality.
What can we learn from these efficient structures? As opposed to the urban capitalistic landscapes, the spider webs are not vertical, but spiral with multiple points of support. Spiders that, with their biological embodiment of a fused thorax and head, invite us to reflect on the Eurocentric and patriarchal idea of rationality as the only form of knowledge. 


These beings, so commonly presented as an element of terror in anthropocentrist media symbolism, appear here with delicacy, an invitation to be enchanted by the life force that flourishes in the attics of the world. 


And then, let the blue come, together with the webs, to give forms to the movement. This blue that, through the skies and the waters, denies temporal, geological and geographical borders, and reminds us, each morning, each wave, that nothing is permanent. 


Occupying the illuminated spaces of an exhibition, in a building once abandoned, it happens that the abandon are no longer forgotten. And from there, spaces open up for the subversion of abandonment, as the Brazilian indigenous philosopher Ailton Krenak suggests "we have to abandon anthropocentrism; there is much life beyond us."

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