Sleepwalk, Ana Mazzei
Installation view at Green Art Gallery, Dubai, 2021
Sleepwalk, Ana Mazzei
Installation view at Green Art Gallery, Dubai, 2021
Sleepwalk, Ana Mazzei
Installation view at Green Art Gallery, Dubai, 2021
Ana Mazzei, Mind Maps II, 2021
Wood, plastic and felt, 201 x 150 x 30 cm
Ana Mazzei, Mind Maps II (detail), 2021
Ana Mazzei, Mind Maps IV, 2021
Wood, felt and bronze, 213 x 191 x 3.5 cm
Ana Mazzei, Mind Maps IV (detail), 2021
Ana Mazzei, Mind Maps IV (detail), 2021
Sleepwalk, Ana Mazzei
Installation view at Green Art Gallery, Dubai, 2021
Ana Mazzei, Other Scenes, 2019-2021
Cedar wood, garapeira wood, perobinha wood, plywood, acrylic paint, fabric and varnish
Composed of 19 pieces, Dimensions variable
Installation dimension: 300 (height) x 900 (length) x 700 (width) cm
Installation view at Glasgow International 2021, UK, Scotland
Ana Mazzei, Other Scenes (detail), 2019-2021
Ana Mazzei, Other Scenes (detail), 2019-2021
Ana Mazzei, Other Scenes (detail), 2019-2021
Ana Mazzei, Other Scenes (detail), 2019-2021
Ana Mazzei, Other Scenes (detail), 2019-2021
Ana Mazzei, Temple, 2020-2021
Cedar wood, varnish, steel wire and soundtrack
composed by Gustavo Riviera and Paulo Kishimoto
250 (height) x 900 (length) cm
Installation view at Glasgow International 2021, Scotland, UK
Ana Mazzei, Temple (detail), 2020-2021
Ana Mazzei, Temple (detail), 2020-2021
Ana Mazzei, Anjos I, 2019
Wood (cedar), 240 x 370 x 25 cm
Ana Mazzei, Masks, 2019
Makeup paint, acrylic paint and wood (perobica mica
and plywood) (composed of 8 masks)
Ana Mazzei
Installation view at Green Art Gallery, Dubai, 2020
Ana Mazzei
Installation view at Green Art Gallery, Dubai, 2020
Ana Mazzei, Woodpecker, 2020
Painted wood (Peroba Mica, Garapeira and Cedar)
64 x 52 x 7 cm
Ana Mazzei, Hare, 2020
Painted wood (Peroba Mica, Cedar, Garapeira and Plywood)
and Acrylic on Canvas, 175 x 35 x 44 cm
Ana Mazzei, Tongue, 2020
Painted wood (Peroba Mica, Garapeira and Plywood)
171.5 x 22 x 18 cm
Ana Mazzei
Installation view at Green Art Gallery, Dubai, 2020
Ana Mazzei, Candle, 2020
Painted wood (Peroba Mica and Plywood) and acrylic on canvas
174 x 47.5 x 47.5 cm
Ana Mazzei, Big Eyes, 2020
Painted wood (Peroba Mica and Plywood)
147 x 60 x 24 cm
Ana Mazzei, Lunar, 2019
Painted wood (Plywood and cumaru), 61 x 120 x 60 cm
Ana Mazzei, Fonte, 2019
Wood, concrete, acrylic paint and makeup paint,
147 x 110 x 75 cm
Ana Mazzei, Scene 1, 2019
Wood, painted cardboard, jesmonite, fabric, wool and digital print, Dimensions variable, Composed of 14 peices
Ana Mazzei, Terrace, 2019
Peroba mica wood, wood stain paint, 25 x 42 x 34 cm
Ana Mazzei, Dancer, 2019
Video: projection, wood and felt, 160 x 102 cm,
Duration: 1 min 52 sec, Ed. of 5
Ana Mazzei, Aranha, 2019
Wood, 66 x 80 x 33 cm
Ana Mazzei, Board Games II, 2019
Gouache on paper, 40 x 30 cm
Ana Mazzei, Antechamber, 2018
Peroba and Pine wood, dry pigment paint and varnish,
282 x 366 x 200 cm
Ana Mazzei, Antechamber (detail), 2018
Ana Mazzei, Us and Them, 2018
Dimensions variable
Ana Mazzei, Red Drop, 2018
Acrylic on Linen, 210 x 190 cm
Ana Mazzei, Blue Drop, 2018
Acrylic on Linen, 217 x 217 cm
Ana Mazzei, Run Rabbit Run, 2018
Installation view at Green Art Gallery, Dubai
Ana Mazzei, Run Rabbit Run, Eye, 2018
Peroba wood metal string and painted linen,
155 x 44 x 28 cm
Ana Mazzei, Royale, 2018
Peroba wood, painted linen and magnets, 115 x 122 x 60 cm
Ana Mazzei, Hypnosis I-II, 2018
Painted Wood (Chene Oak, Acajou and Plywood),
Hypnosis I: 102 x 37 x 20 cm, Hypnosis II: 85 x 80 x 20 cm
Ana Mazzei, Tongue I-II, 2018
Painted Wood (Oak, Acajou and Pine),
Tongue I: 80 x 31 x 13,5 cm, Tongue II: 91 x 13,5 x 44 cm
Ana Mazzei, Pink Square, 2018
Vinyl and Tempera Paint on Canvas Board, 30 x 24 cm
Ana Mazzei, Wind, 2018
Vinyl and Tempera Paint on Linen, 26 x 19 cm
Ana Mazzei, Sans titre, 2018
Wood, painted wood, iron, felt, tempera on linen, acrylic on linen, Dimensions variable
Installation view at La Galerie Centre d’Art Contemporain, 2018
Ana Mazzei, Garden, 2017
Wood, painted wood, iron, felt, tempera on linen, acrylic on linen, 350 x 450 x 180 cm
Installation view at Green Art Gallery, Dubai, 2017
Ana Mazzei, Garden (detail), 2017
Ana Mazzei, Girl, 2017
Wood, linen and iron, 64 x 30 x 10 cm
Installation view at Almine Rech Gallery, 2017
Ana Mazzei, Ghosts, 2017
Wood, 180 x 380 x 150 cm
Installation view at Almine Rech Gallery, 2017
Ana Mazzei, Jim and Predio, 2017
Paint on linen, (Jim) 150 x 130 cm, (Predio) 165 x 150 cm
Installation view at Almine Rech Gallery, 2017
Ana Mazzei, Veneza, 2016
Iron, wood, rubber, 190 x 180 x 100 cm
Ana Mazzei, Spectacle (Espetáculo), 2016
Wood, paint, felt, rubber, iron, 4.50 x 14.5 x 4.50 m
Installation view at 32ª Bienal de São Paulo, 2016
Ana Mazzei, Spectacle (Espetáculo) (detail), 2016
Wood, paint, felt, rubber, iron, 4.50 x 14.5 x 4.50 m
Installation view at 32ª Bienal de São Paulo, 2016
Ana Mazzei, Monolith and the Sentinel, 2015
Performer, styrofoam, iron, rubber and wood,
250 x 250 x 250 cm
Ana Mazzei, Ecstasy, 2015
Wood and felt, 120 x 150 x 60 cm
Ana Mazzei, Ascension, 2015
Wood and felt, 190 x 70 x 80 cm
Ana Mazzei, Death, 2015
Wood and felt, 110 x 160 x 60 cm
Ana Mazzei, DramaFobia, 2017
Installation view at Galeria Jaqueline Martins, 2017
Detail of Ana Mazzei, Antechamber, 2018.
Photo by Alex Wolfe
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.
Portrait of Ana Mazzei by Jandri Angelo Agvilor
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: How to Disappear, Green Art Gallery, Dubai, UAE (2024); Sleepwalk, Green Art Gallery, Dubai, UAE (2021); Drama O'Rama: Other Scenes, Glasgow International, Scotland, UK (2021); Vesuvius, Galeria Jaqueline Martins, São Paulo, Brazil (2020); Drama O'Rama, Sesc Pompeia, São Paulo, Brazil (2019); Is-Montage!, Carlos/Ishikawa, London, UK (2019); Antechamber, Green Art Gallery, Dubai, UAE (2018); DRAMAFOBIA, Galeria Jaqueline Martins, São Paulo, Brazil (2017); and Ghost Studies, Almine Rech Gallery, New York, NY (2017).
Selected group shows include: 37th Panorama of the Brazilian Art: Under the ashes, embers, São Paulo Museum of Modern Art, Brazil (2022); Da Humanidade, Museu Brasileiro de Arte, FAAP. São Paulo, Brazil (2020); Feminists Histories, São Paulo Arts Museum, São Paulo, Brazil (2019); 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); 20º Festival de Arte Contemporânea Videobrasil, Sesc Pompeia, São Paulo, Brazil (2017); Theatre of the Absurd, Green Art Gallery, Dubai, UAE (2017); Neither, Mendes Woods Gallery, Brussels, Belgium (2017); and 32ª São Paulo’s Internacional Bienal, Incerteza Viva, São Paulo, Brazil (2016).
Her works are in the collection of Centre National des Arts Plastiques, Paris, France; Glasgow International, Scotland; Museu de Arte Brasileira, FAAP, São Paulo, Brazil; MASP- Museu de Arte São Paulo, São Paulo, Brazil; Nouveau Musée National, Monaco; Sammlung Philara Collection, Düsseldorf, Germany and S.M.A.K, Ghent, Belgium.
She lives and works in São Paulo, Brazil.
Creating figures, forms, and props from a minimalist toolbox of wood, wax, paint, and found objects, Ana Mazzei doesn't create works so much as she makes stages out of them.
Ana Mazzei's Drama O’Rama among some standout pieces from this year’s fair in Paris.
The Brazilian artist's mixed-media sculptural works explore the power of enigmatic storytelling.
Hettie Judah's review on Glasgow International 2021.
Ela Bittencourt reviews Ana Mazzei's solo exhibition Vesuvius at Galeria Jaqueline Martins, São Paulo, Brazil.
From Song Dynasty porcelain to new painting by Ugo Rondinone, advisors from the APAA pick their highlight works from Frieze Viewing Room.
Art Basel debuted its digital platform, the Online Viewing Rooms, with 235 galleries showing over 2,000 pieces. Art Basel's Film sector curator Filipa Ramos shares her favorites including Ana Mazzei.
Gökcan Demirkazik reviews Ana Mazzei's solo show at Green Art Gallery, Dubai.
Anna Wallace-Thompson interviews Ana Mazzei about her recent residency in France this summer, resulting in the exhibition Hands, Spells and Papers at La Galerie, Centre d’Art Contemporain.
São Paulo-based artist Ana Mazzei discusses with Terremoto’s editor in chief Dorothée Dupuis about politics of spectatorship in her work, public space in Brazil and how art’s independence vis-àvis reality is actually what commits it the most strongly to the current affairs of the world.
Isabella Lenzi reviews Ana Mazzei's Espectáculo [Spectacle] (2016), a piece commissioned for the 32nd edition of the São Paulo Biennale.
Ana Mazzei's work is motivated by her search for other worlds and imaginary universes and by a need to tell and re-signify stories.
Ana Mazzei in Kiki Mazzucchelli's Profile of 2016 Future Great artist.
