Men and narratives, in their inseparable relationships, define Ana Mazzei’s interest. It is from this perspective that her work develops and grows.
For Mazzei, art, architecture and landscapes construct, in themselves, a fiction that connects them, resulting in installations, settings and objects. Some of the works operate on a smaller scale, such as the series of installations arranged on the floor formed by groups of small shapes made of felt, concrete or wood similar to the architectural models of old cities, amphitheaters or monuments. Beyond the formalist exercises, these floor objects invoke unidentified stories that suggest hidden and impenetrable archetypal structures. This dual movement, suggesting and retaining the symbolic value of the objects, is recurrent in her practice.
Her artworks are like pieces and fragments of myths, lives and fictions that are represented in drawings, videos, sculptures and installations. At other times, her works function as observation devices framing this vast repertoire from a specific point of view. Focusing on a widely experimental practice, the artist appropriates different sensorial materials, such as felt and concrete, connecting to the environments in which she works.
Ana Mazzei (born in 1979, São Paulo, Brazil) completed a BFA in Visual Arts at the Fundação Armando Alvares Penteado (FAAP) in 2006 and a MA in Visual Poetics at UNICAMP in 2010.
Recent solo exhibitions include: Antechamber, Green Art Gallery, Dubai, UAE (2018); DRAMAFOBIA, Galeria Jaqueline Martins, São Paulo, Brazil (2017); Ghost Studies, Almine Rech Gallery, New York, USA (2017); Move in straight lines, Fundacion Saludarte, Miami, USA (2016); Demasque et nu, Galerie Emmanuel Herve, Paris, France (2016); Speech about the sun, Galeria Davide Gallo, Milan, Italy (2015); O monólito e a Sentinela, Pivô, São Paulo, Brazil (2015); Avistador de Pássaros, Centro Cultural São Paulo, São Paulo, Brazil (2015); Se disser que fui Passaro, Galeria Jaqueline Martins, São Paulo, Brazil (2014); Et nous, nous marchons inconnus, Galerie Emmanuel Herve, Paris, France (2014); Couvert de Son Manteau Couleur Safran, La Maudite, Paris, France (2013); and Amigo estranho, Galeria, Polinesia, São Paulo, Brazil (2010).
Selected group shows include: Living Structures. Art as a plural experience, curated by Jesús Fuenmayor, la Bienal de Cuenca, Ecuador (2018); Brazil. Knife in the flesh, a joint performance with Regina Parra, Padiglione d'Arte Contemporanea, Milan, Italy (2018); Hands, Spells and Papers, La Galerie Centre d'Art Contemporain, Noisy-le-sec, France (2018); I AM HE AS YOU ARE SHE AS YOU ARE ME, House of Egron, Berlin, Germany (2018); Now it is Light, Galeria Municipal da Boavista, Lisbon, Portugal (2018); 20º Festival de Arte Contemporânea Videobrasil, Sesc Pompeia, São Paulo, Brazil (2017); Unanimous Night, Contemporary Art Center, Vilnius, Lithuania (2017); Theatre of the Absurd, Green Art Gallery, Dubai, UAE (2017); 32º Bienal Internacional de São Paulo, Incerteza Viva, Itinerância, Museo de Arte Moderna, Bogotá, Colômbia (2017); Neither, Mendes Woods Gallery, Brussels, Belgium (2017); 32ª São Paulo’s Internacional Bienal, Incerteza Viva, São Paulo, Brazil (2016); Quadro, Desquadro, Requadro, Instituto Tomie Ohtake, São Paulo, Brazil; Condo, Sunday Painter Gallery, London, UK (2016); Obras, Lora Reynolds Gallery, Austin, USA (2015); NO SOUND, Galeria Millan, São Paulo, Brazil (2015); Carne da minha perna, Galerie Emmanuel Hervé, Paris, France (2014); Carte Blanche, Galeria Caroline Pages, Lisboa, Portugal (2014); Museu de Arte de Ribeirão Preto, Ribeirão Preto, Brazil (2011); and TRANS_ imagem, Galeria Virgilio, São Paulo, Brazil (2010).