Manoela Medeiros
Bio
Manoela actively participates in various exhibitions, prizes and art residencys. Her solo exhibitions includes: Archeol- ogies in the Present, curated by Luis Pérez Oramas, Nara Roesler, (São Paulo, 2021); Concerto a céu aberto, Kubik, Portugal, 2020), L’être Dissout dans le Monde, Chloé Salgado (Paris, 2019), Poeira Varrida, Fortes D’Aloia & Gabriel (São Paulo, 2017); Analogies Vivantes curated by Alicia Knock, Saint-Sévrin (Paris 2019), Falling Walls, Double V Gallery (Marseille, 2017). Among her collective exhibitions and prizes: Recycler | Surcycler, Fondation Villa Datris (France, 2020), AAA’ Fortes D’Aloia & Gabriel (São Paulo, 2020), Reservoir, 019, (Gent, 2020), AAA’, EXPO-CHICAGO (Chicago, 2020), Design Parede, Villa Noailles (Toulon, 2019), Espaces Témoins, Praz-Delavallade (Paris, 2018), Vivemos na melhor cidade da América do Sul, Fondation Iberê Camargo (Porto Alegre, 2018), 67o Prix Jeune Création, Thaddaeus Ropac (Paris, 2017), 62o Salon de Montrouge, Le Beffroi (Paris, 2017); Hallstatt, Fortes D’Aloia e Gabri- el (São Paulo, 2016); In Between, Bergamin & Gomide (São Paulo, 2016), 11o Abre Alas, A Gentil Carioca, (Rio de Janeiro, 2015).
Statement
In her practice, Medeiros articulates an approach to painting that transcends the specificities of the medium, making use of sculpture, performance, and installation work. Pursuing a hybrid framework for the pictorial, Medeiros questions artistic media by going beyond their conventional formats, producing paintings and in situ installations that explore the relationships between space, time, and the corporeality of art and of the viewer. Through a seemingly archeological process, Medeiros engages with the notion of ruins as a spatial indication for passing time, undertaking a process that reveals what is often left to underlie. The artist scrapes surfaces - such as the exhibition space's walls-, unveiling the layers of colors and materials employed, covered, and thus, forgotten over time. Medeiros seeks to reinvigorate our temporal experience by exhibiting layers -each of which carries the memory of the time when it was created- , and by allowing them to coexist and intertwine. Thus, the artist operates within a liminal space between construction and destruction, foregrounding how they may complement, rather than detract from each other.
