P E N D U L A R E S (2025)
This series emerged from the desire to expand a constant element present in my jewellery practice: the pendulum. In my pieces, rocks and pearls often hang from chains, embodying beauty, energy fields and movement. By extending this gesture into space, these suspended forms translate new nuances, becoming environments of reflection, where suspension and gaze themselves are reimagined as a states of being.
The installation unfolds as suspended objects, a repository of experiences and archetypes. Dripping wax as a magical fountain to drink from the content of the Self and to ritualize from this (ours) endless imaginary. Guts, sweat, saliva, wax — the body and its secretions mirrored in material alchemy. The stainless steel vessel includes laurel leaves, cinnamon sticks, lavender flowers, incense rock, purple and white quartz, tourmaline, hematite, oyster shell, sea urchin and a flask with unknown liquid similar to blood: a constellation of objects of cure connecting above and below.
Fire always ascends while matter drips downward, solidifying as wax on the concrete floor. These possibilities of pendular movement resonates with the intercalation of action and reception, visible and invisible, lightness and heaviness. But suspension is never emptiness: it implies that, somewhere, there is grounding — the core where we all hold to. Each element is held to materiality, to bones and rocks — the substances that form the body of the Earth and ourselves. In this suspended tension, balance is not absence of weight but coexistence of forces.
Pendulares translates the animation of objects, the transformation of desire into materiality, the transmutation of wax and saliva, bones and stones. It seeks proximity to what we already carry within us: the most elemental, intimate matter that composes both body and world.
"It salivates from the Source. Mouth plays inner words, within space ground can’t hold. Dripping, warm, edging threshold. / Suspended bodies our feet can’t reach, rocks drooling lights towards concrete. Outer place, outer wordly kiss.”
E M B A L M E (2025)
EMBALME (2025) is an installation where beeswax functions as the main connector between fragments scattered in the room. Beeswax, when used to preserve flowers, carries a natural alchemy: it seals what is fragile, delaying decay while holding the memory of vitality. It evokes saliva, sweetness, secretion, the Sun’s warmth — a substance that oscillates between insect and human. Within this installation, beeswax becomes the enchanting medium, integrating death within life. It transforms decomposing flowers and their dissected parts — ovaries of white roses, stems, thorns — into relics that are not frozen in time, but transfigured. Preservation here is not seen as attachment or denial of loss, but as an act of co-creation with nature, where transformation becomes a form of cure and survival.
This gesture of embalming opens up a space where eros pulsates within remnants. Desire, vitality, and memory infiltrate what has already crossed into decomposition, affirming that nothing is ever fully gone, only transmuted.
Alongside the flowers, syringes occupy the installation. They carry another ritual, one made directly into my own body: weekly injections of estrogen that sustain my transition. Like beeswax, these gestures of care are about transformation — not clinging to what is lost, but reimagining life in continuity. The syringes, emptied of their medical function, remain as pieces of memory, traces of a process that bridges vulnerability and affirmation.
EMBALME is therefore a ritual of alchemy: flowers and syringes, decomposition and preservation, death and eros, all converging into a poetics of transformation which proposes preservation as movement.
''Rego um bálsamo que cristaliza lírios
pintando pétalas, encobertas de ritos
Semeio um cálice com pepitas de cera:
sementes amareladas escorrendo seiva por seis beiras.
Tempo dourado,
temperado em receita banho-maria,
saliva de abelha transmutada em alquimia.
Veias cobertas de prosas finas,
ainda vivas,
na pele que ha pouco florescia.
Fervor.
delicadeza que borbulha.
odor que se mistura,
perfuma...
Vida que arde, se acaba,
e ainda continua.''
N E P T U N A L I A (2025)
Ritual-Performance recording during Neptunalia, a date where Neptune, paganic deity of waters associated with Pisces, is celebrated in request for protection.
Using my disassembled loom in 4 parts, I placed each stack in between rocks as a base for a drawing and overlap within the amulet of Neptune’s symbol in itself in the exact coordinates where my Neptunian line crosses my natal Astrocartography chart. The emerged space turned into a devouring portal of manifestation and gratification towards nept-oceanic energy.
Astrocartography is the astrological guidance through land, weaving together carnal and immaterial constelations. It is a modern astrology practice that interpretes the geographical projections of each planet in a specific moment, showing where each planet has their highest intensity on Earth. Like bridges that connects us to their atmospheres.
Neptune represents the universal ocean of oneness with all beings, related to the Cups suit in the Tarot and Pisces astrological sign. Neptune is highly compassionate, idealistic, and imaginative. It is the planet of inspiration, dreams, and psychic receptivity. Neptune rules spirituality, and all things subtle.
"I feel you passing by — through crystal waters and purple pines…
Yet orbiting so distant, in unreachable sight.
Somewhere, a mountain carries the weight of a heart,
And I refuse it to be mine.
Notice how grasping into rocks can decompress empty hands?
A libido that sparkles for warm, golden grains of sand?
So I keep longing for the kiss of lukewarm springs,
Intimate silence plunging throats as deep as the sea…
As a portal of fire twilights,
Introducing ever-changing moonlights.
Fill me with riddles,
And I will muzzle words.
Inside fountain baths, saliva soaks over endless notes —
They simmer incenses of you,
Rosemary lust that shapes what is true."
I I I A L T A R E S
I I I A L T U R A S (2025)
3 different levels indicate an ephemeral path of Venusian vertical conexions made as 3 altars that enchants space and visitors through the heart core of a building marked by a complex and dense history of violences and healing practices.
The instalation is a journey through a contemplative vortex using archetypical objects from our longtime and recent ancestry in contrast to contemporary objects and insights as a ritualistic bridge that communicates towards the in-between. At every turning point of the stairs, elements are transforming gradually in the ascension of a narrative.
The video performances recorded through it consists of activations of the different spaces and uses the Tarot as a tool to translate the inspirations through this journey, marked by conflicts between advances and pull-backs.
O P E R A (2025)
This project was a collaboration with opera singer Virginie, who has asked me to do an installation as set design for her play at the Performing Arts Forum in December 2025.