Maria Nepomuceno

Maria Nepomuceno (1976) is a Brazilian artist from Rio de Janeiro. Nepomuceno is a contemporary sculptor and installation artist who's known for her knitted sculptural works. Her artistic practice is based upon traditional weaving techniques that are rooted in her Brazilian cultural upbringing. Drawing inspirations from indigenous traditions, Afro-Brazilian spirituality, and Brazilian landscapes. Her art explores the themes of identity and spirituality, reflecting on her own experiences as a Brazilian Woman of mixed heritage. Nepomuceno's work intersects artistic and social movements, such as feminist art, Neo-Concrete and environmental activism. Her work resembles classic contemporary art movements such as Surrealism and Abstract Expressionism through her exploration of themes deeply rooted in the subconscious and spiritual which create sculptures that appear to grow naturally.

Early life and career
Born and raised in Rio de Janeiro making her a Carioca artist. She was 10 years old when her stepmother taught her how to knit simple braids. Afterwards, she would make braid of braids and sew them into thick spirals which would become an early version of her artistic style. Encouraged by her uncle who was a painter, she would go on to study drawing and painting at Escola de Artes Visuais do Parque Lage (1990-1994). She then received further arts education at Faculdade da Cidade (1994-1996) where she studied industrial design at got her bachelors. She then became a UNIRIO Faculty and specialized in Scenography. She has also gone back to Escola de Artes Visuais Parque Lage (2003-2004) to study Art and Philosophy. She started experimenting with her signature style in the early 2000s. In the beginning of her artistic practice she was more influenced by certain artists rather than artistic movements: Calder, Magritte, Ligia Clark, Louise Bourgeois, Yves Klien, Ernesto Neto....Also cultural collaborations like Carnival and other Brazilian parties are an influence for the development of her works. The gallery A Gentil Carioca was the first institution that gave her the opportunity to display her work.

She has had International Recognition: 2013 Prêmio aquisição/acquisition prize, Salão da Bahia Museum of Modern Art – Bahia; 2012 Rede Nacional Funarte – Proposições Poéticas –  A rede, o cesto, o colar, a bola, Acre – BR; 2006 Prêmio aquisição – acquisition prize Marcantonio Vilaça – FUNARTE, Museum of Modern Art – RJ.

In recent years collaboration has become a central factor in her work. She has worked with indigenous Huni Kuin people in the north of Brazil and has linked with community groups to release projects for her exhibitions. Her installation for Japan’s 2021 Ichihara Art Mix Festival, for which she collaborated with children from Rio de Janeiro’s Maré community. She also created a site-specific installation at the Portico Library in Manchester and launched her first wearable art projects in collaboration with London’s Elisabetta Cipriani Gallery.

Important exhibitions
Acts of Gathering, Eden Projects, Cornwall, UK, (2024)

Narrative Threads: Fiber Art Today, Moody Center for the Arts, Houston, USA (2023)

Forest: Wake This Ground at Arnolfini, Bristol (2022).

Dentro e fora infinitamente” at the SCAD Museum of Art (August 3 - December 26, 2022):

Roda das encantadas” at Sikkema Jenkins & Co. (January 11 - February 12, 2022):

Stavanger Art Museum, Norway (2017)

Barbican Centre, London (2016)

Tempo para Respirar/ Time to Breathe, Museu de Arte Moderna, Rio de Janeiro (2013)

PULSO, Eva Klabin foundation, RJ (2012)

SAARA, MEU AMOR! (wall project) supported by Catherine Petitgas, A Gentil Carioca, RJ (2012)

TEMPO PARA RESPIRAR (Breathing Time), Turner Contemporary, Margate – UK (2012)

THE FORCE, Victoria Miro Gallery, London-UK (2011)

ALWAYS IN A SPIRAL, Magasin 3 / Stockholm – Sweden (2010)

HAMMOCKNET, Basel Fair, Basel – Swiss (2010)

AFECTOFLUX, Gallery Karsten Greve, Colony – Germany (2009)

ESFERA DALVA, A Gentil Carioca Gallery – RJ (2009)

TEMPORADA DE PROJETOS, Paço das Artes, USP – São Paulo (2008)

AFETOSSÍNTESE ,Carminha Macedo Gallery, BH (2008)

PRÊMIO – PRIZE PROJÉTEIS DE ARTE CONTEMPORÂNEA, Sala FUNARTE, RJ (2008)

RESPIRO, A Gentil Carioca, RJ (2006)

Artwork analysis and stylistic significance
Maria Nepomuceno's artistic style is rich in invention, unique to her and individualized to the viewer. Take for instance her use of organic forms creates visually striking pieces that draw viewers in. It appears as if each element of her installations, from the vibrant hues to the sinuous shapes, invite personal interpretation and engagement. Her installations also often engage multiple senses beyond just sight. Through textiles that invite touch and textured elements her work offers a multi-dimensional experience that resonates with each viewer differently. Her work is known to create a transformative experience for the viewer which shares affinities with the Neo-Concrete movement (a more subjective and experiential dimension into art while maintaining a commitment to geometric abstraction). Which emerged in Brazil in the 1950s and 1960s. Neo-concrete, also opposed the excessive rationalism of their colleagues in Sao Paulo, recognized the potential of the aesthetic power that grew out of dispensing with traditional artistic genres and methods. To counter Concrete elements of art there was development in dynamic art closely related between life, featured diverse local references, and the viewer. rather than the artist, the focus. Like the Neo-Concrete art, Nepomuceno explores the relationship between art and the viewer, often creating immersive installations that invite participation and sensory engagement. She participates in contemporary trends by her fusion of traditional craft techniques with contemporary art practices. This places her within the realm of contemporary craft. By incorporating weaving, beading, and other handiwork into her installations, she celebrates the skill and creativity of artisans while pushing the boundaries of what is considered "fine art." Nepomuceno's artwork intersects with various artistic movements and tendencies, reflecting a rich tapestry of influences and inspirations while also forging new paths in contemporary art.

It is known that her Brazilian culture heavily influences her artwork. In some respects her choice of these more accessible materials and traditionally made forms, Nepomuceno not only references aspects of Brazilian culture and spirituality, but her art being made in many traditional ways allows viewers to connect with her work on a personal or cultural level, depending on their own background and experiences. Nepomuceno's art is based around her weaving techniques and craftsmanship. This creates emphasis on her handiwork and adds layers of awe as her installations invite viewers to appreciate the labor and skill behind each piece. The scale and placement of Nepomuceno's installations within a gallery or exhibition space also contribute to their individualized impact on viewers. The way viewers navigate around and interact with the artwork can shape their understanding of it.