São José dos Campos, SP, Brazil, 1990.

Lives and works in São Paulo, SP, Brazil.

Bachelor of Fine Arts from Fundação Armando Álvares Penteado – FAAP, São Paulo (2014). Has a Degree in Artistic Education from Faculdade Santa Marcelina, São Paulo (2016). Attended two years of Architecture and Urbanism at Escola da Cidade and Faculdade Presbiteriana Mackenzie, São Paulo (2009 and 2010).

Her works were exhibited at the Museu de Arte Sacra de São Paulo (2023), Museu de Arte de Blumenau, Santa Catarina (2016), Museu de Arte de Ribeirão Preto Pedro Manuel-Gismondi - MARP, São Paulo (2016) and Museu de Arte Brasileira - MAB/FAAP, São Paulo (2018). In addition to solo shows, “Estranhamente Familiar”, Galeria Projeto Vênus, São Paulo (2022), “Peintures d'Intérieurs”, Cité internationale des arts, Paris, France (2018), and “Interiores”, Zaratan, Lisbon, Portugal ( 2017). And from the group shows, “A Perder de Vista” Galeria Izabel Pinheiro, São Paulo (2023), “Dentro de ti”, Quadra Galeria, São Paulo (2022); “Now”, Museu Inimá de Paula, Belo Horizonte (2022); “Semana de 21”, Instituto Artium, São Paulo (2021); “Da Humanidade - 100 artistas do acervo”, Museu de Arte Brasileira – MAB/FAAP, São Paulo (2021); “Matrioshka”, Galeria Bergamin&Gomide, São Paulo (2020), among others.

Artist residencies:

Cité internationale des arts, Paris, France (2022).
Cité internationale des arts, Paris, France (2018).
Zaratan, Lisbon, Portugal (2017).

Public collections:

Museu de Arte Brasileira - MAB/FAAP, São Paulo, SP, Brazil.
Museu Inimá de Paula, Belo Horizonte, MG, Brazil.

PAULA SCAVAZZINI

Capim-dos-pampas, oil on canvas,

150 x 100cm, 2022.

The work “Capim-dos-Pampas” is part of the series “Pétala, pincelada”.

“The solo show of january 2022, “Estranhamente Familiar” was developed during the pandemic confinement while those who could were inside their homes. A fictitious house was then created for the gallery's exhibition space. Among many paintings of portraits and figurations of ornamental objects in this house was a flower vase.

With the end of the show and the pandemic, I continued, almost naturally, a repetition of flower vases and everyone was able to leave their homes and the gardens became part of our lives again. From this repetition I realized that my interest lay not in the figuration of the object, but in the potency of the pictorial gestures that the anatomies and “architectures” of a flower, of a plant can give to painting, beyond the almost infinite palette of colors. I then began to explore this path, almost incessantly, embodying seventy paintings made from march 2022 to the beginning of 2023. Exploding, so to speak, with each painting and more and more, the gestures and proportions of the brushstrokes and canvases, reaching a set of paintings that begin a possible flirtation with the Landscape and Abstract genres.

I believe that such a new movement in my predominantly figurative production is a consequence of a quest to explore more deeply the pictorial issues themselves, rather than the recognition of the portrayed object or subject, their similarities with other subjects and/or their possible narratives.

Finally, for me, the floral theme is a way of “painting a portrait without painting a portrait”, as the easy and quick recognition of a flower, or something like a flower on the surface of the canvas, creates opportunities for me to delve into other possible issues that you can find in a painting — the gesture, the pictorial facture, the identity in the way of painting, the chosen proportions, the color palette... Characteristics that are very important to pictorial creation and, particularly, to my research.” (Paula Scavazzini)