STATEMENT

I was raised in the countryside of Rio Grande do Sul, the southernmost state in Brazil, where the colonization was by Italian and German immigrants. The community where I grew up was typically German. The residents of the community still maintain many of the customs inherited from their ancestors. At the age of 12 I started attending a women's group that met in the afternoons to paint and embroider items that were donated to charity. This is where I started to have contact with different manual techniques that are part of my artistic process.

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Immigrants to Brazil frequently brought their native crafts with them. This trade was taught to sons by their fathers. My family followed suit. My maternal grandma learned to crochet winter garments from her mother and sisters and also sews. She let me practice with her extra fabrics. She introduced me to sewing machines and taught me to appreciate them.

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My maternal grandmother knitted. She assisted her carpenter father in making housewares. He manufactured trousseau hangers and store hangers. My grandmother crocheted hanger covers. I remember the wood fragrance of my great-grandfather's workshop and how much I adored being there. He'd let me use his tools to create art. Like my grandmother, who taught me to crochet and do different kinds of crafts.

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Having lived and experienced these environments made me have an affective memory related to manual work. And it awakened my interest and desire to try to use them in the form of fine art. I think that each technique has a beautiful story behind it that can be told through art. Besides the enchantment I have to work with textiles. Thread, wool, fabric and yarn are my great passion, and I use them in my work.

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Every technique I do has been properly researched. To learn about their history, what they were used for, when they first appeared, and how they were passed down, and to try to portray their tale via my work. Making and being handmade means much more to me than a well-made product. It is a humanmade holistic experience, which implies bringing together feelings, sensations, stories, thoughts, and imperfections in the process ofA creating a unique item. Everything that is handmade has a unique story and feeling. Whether greeting someone, petting, cooking, painting, sculpting, or weaving, our hands are strong instruments of creativity, change, protection, unity, and devotion.

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All of these points come together in my work. They are mixed-media works that combine materials, techniques, and ethnicities to demonstrate the cultural blending and diversity of life.  I employ threads as a metaphorical link that continuously traces its varied roots and inheritances. These threads weave intricate webs, revealing the profound entanglement of these processes in our lives. The loom symbolizes the intricate weaving of our existence, drawing upon the tapestry of our hereditary burdens. Meanwhile, the act of embroidery serves as an embellishment of our origins, adding layers of complexity and beauty. Ultimately, this narrative underscores the notion that we are products of our familial lineage — shaped by the experiences, wisdom, and legacies passed down through generations, whether as humans or within the natural world.