Bárbara balaclava is a metanarrative based on the existing stories in the work of Thiago Martins de Melo and is read through the Tarot. Cosmogonic, baroque, hybrid and cyclic, traces the trajectory of an anonymous martyr from the expropriation and massacre of her village and her death under police torture to her experience as “enchanted” finding herself in previous incarnation and culminating in her baptism in the heart of Pindorama. Bárbara balaclava is na anarcho-shamanic narrative of transcendence of the anti-colonialist struggle.

Bárbara balaclava is a metanarrative based on the existing stories in the work of Thiago Martins de Melo and is read through the Tarot. Cosmogonic, baroque, hybrid and cyclic, traces the trajectory of an anonymous martyr from the expropriation and massacre of her village and her death under police torture to her experience as “enchanted” finding herself in previous incarnation and culminating in her baptism in the heart of Pindorama. Bárbara balaclava is na anarcho-shamanic narrative of transcendence of the anti-colonialist struggle.

Bárbara balaclava is a metanarrative based on the existing stories in the work of Thiago Martins de Melo and is read through the Tarot. Cosmogonic, baroque, hybrid and cyclic, traces the trajectory of an anonymous martyr from the expropriation and massacre of her village and her death under police torture to her experience as “enchanted” finding herself in previous incarnation and culminating in her baptism in the heart of Pindorama. Bárbara balaclava is na anarcho-shamanic narrative of transcendence of the anti-colonialist struggle.

“Rasga Mortalha” comes from the legend of the owl “Suindara” – much told in the folklore of the North and Northeast of Brazil – to address the socio-political urgencies of the country. It is believed that the appearance of its white figure, followed by the wild cry – which resembles the sound of a cloth being torn in half – carries with it the sign of death. As a metaphorical vector for thinking, and also transcending, a fatalistic view of Brazilian history, the artist uses this popular tradition to cross centuries of public events with memories, references and personal imaginations, creating a charged and sharp narrative.

“Rasga Mortalha” comes from the legend of the owl “Suindara” – much told in the folklore of the North and Northeast of Brazil – to address the socio-political urgencies of the country. It is believed that the appearance of its white figure, followed by the wild cry – which resembles the sound of a cloth being torn in half – carries with it the sign of death. As a metaphorical vector for thinking, and also transcending, a fatalistic view of Brazilian history, the artist uses this popular tradition to cross centuries of public events with memories, references and personal imaginations, creating a charged and sharp narrative.

“Rasga Mortalha” comes from the legend of the owl “Suindara” – much told in the folklore of the North and Northeast of Brazil – to address the socio-political urgencies of the country. It is believed that the appearance of its white figure, followed by the wild cry – which resembles the sound of a cloth being torn in half – carries with it the sign of death. As a metaphorical vector for thinking, and also transcending, a fatalistic view of Brazilian history, the artist uses this popular tradition to cross centuries of public events with memories, references and personal imaginations, creating a charged and sharp narrative.