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Brazilian designer and researcher. Currently Assistant Professor at IE School of Architecture and Design. PhD in Fine Arts, specialized in Contemporary Drawing (FBAUL, 2024), Master in Technology Intelligence and Digital Design (PUCSP, 2016). Extensive experience in interdisciplinary design disciplines both in academic and professional environments.

During my PhD, I co-created, coordinated and curated "5 Minutes of Drawing" (FBAUL), a research project funded by the Foundation for Science and Technology (Portugal). I am currently a member of the research project "Sensclusion: Sense of Place and Sociospatial Inclusion in Vulnerable Neighborhoods," funded by the Ministry of Science, Innovation, and Universities (Spain). I am also the curator of IE School of Architecture and Design lecture series, bringing together voices from global North and South. Over the past years, I've lectured at design and architecture institutions such as EINA and ETSAB in Barcelona, and at events such as Madrid Design Festival or Barcelona Dibuixa.

Previously to academia, I spent for over 8 years working as a designer and producer at Google, Roche, and startups in Latin America and Europe.

My research interests lie at the intersection of design, art, innovation and technology in the context of post-digitalization and acceleration. I explore these topics through phenomenology, affective atmospheres, relational, slow and situated design/art practices urban and natural environments.






(Brazil, 1989) Designer and Researcher. Assistant Professor at IE School of Architecture and Design. PhD in Fine Arts, University of Lisbon. 


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ART RESIDENCIES

2022-Present


JOYA:AiR


FULL ARTICLE: https://www.researchgate.net/publication/358132692_Slow_drawing_as_a_methodology_to_inhabit_represent_and_reimagine_nature#fullTextFileContent

This series was developed during the artistic residency ‘Joya:AIR Arte + Ecología’ (September, 2021), as a practice based on a contemplative and conscious record of nature in its multiple configurations. Based on Agnès Garda's phrase “If we opened people up, we would find landscapes” (2009), three drawing experiments were carried out: (1) drawings that trace the movement, angles and changes of a local tree discovered during one of the main walks (2) drawings and collages that move the tree to a larger ecosystem, using the material (charcoal) that this same tree offered within (3) large-scale self-portraits as perceptions of bodily and psychic territories triggered by these interactions with the landscape. The plant used for object of study was Alma, in reference to being an almond tree in Almería region in Spain.

Drawing, as a sensitive tool of the gaze, engenders a form of attention to bring the outside world inside. Its stroke carries the quality of the artist's presence during the making. And, as John Berger puts it, “for the artist to draw is to discover” (2007). When drawing, one discovers that what sustains the visible is through the ability to contemplate. Thus, who draws is not the hand, but the eye. The hand simply expresses what is already drawn in the eye.

In a world increasingly focused on new technologies and quick resolution of creative problems, the practice of drawing can awaken us to discover other non-human temporalities and sensitive ways of being in the world. In this process, I discover, with the poetic space, a space that is not closed in an affectivity (Bachelard, 1975).

Outdoors studio, tree, brown charcoal found inside the tree and drawings developed during the research


Bodily perceptions of a tree (4 drawings). Pencil on paper, 29.7 x 21 cm


Bodily perceptions of a tree (drawing on the left). Simultaneously with both left & right hands I drew a tree (drawing on the right). Graphite and natural tree charcoal on paper, 100 x 70 cm


Video process of Bodily perceptions of a tree


When I open my chest, I find bones (drawing on the left). Larger bodily perceptions of a tree (drawing on the right). Pencil and color pencil on paper, 100 x 70 cm


Playing with shadows and charcoal from a tree (drawing on the left). When nothing is better than something (drawing on the right). Natural tree charcoal and charcoal on paper, 100 x 70 cm


Sky trunks, tree clouds (3 collages). Charcoal and pencil on paper, 29.7 x 21 cm


Tree over wood. Oil pastel over wood, 10 x 7 cm


Ramifications in suspense and cavities (studies). Graphite and charcoal over paper. 29.7 x 21 cm (each)

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