“Green, pink and burgundy tongues”

Marcia de Moraes seeks the poetic direction for her creations in the abstraction of the line and in the filling in with colored pencils. Her work is cohesive in the procedures she employs; first she dedicates herself to sketching the lines made with graphite, fluid and agile, and then fills the outlined possibilities with intense colors — without repeating shapes or chromatic combinations. Her work is a visual whirlwind in constant transformation, with unique hues and expressive lines. Her works are articulated in diptychs and polyptychs in which the lines and colors cross the boundaries of the paper, sometimes finding obvious continuations and now finding disparate elements. On occasions when the artist is not satisfied with the two-dimensional plane alone, she cuts it, fragments it and reassembles it, creating a new dynamic between the parts. In these collages, the small drawings resized by the split, when reassembled in a game of unlikely encounters on different planes, gain an unexpected three-dimensionality. This three-dimensional exploration culminated in her recent research in sculptures made of glazed ceramics, in which the imagery vocabulary that he has been developing for ten years in his drawings and collages is present: tongues, teeth, eggs, umbilical cords, cylindrical and circular structures, bones, stems, tails, among others. 

Marcia de Moraes holds a Bachelor's and Master's degree in Arts from Unicamp. The artist has held several exhibitions in Brazil, the USA, Portugal and France. Among her solo and group exhibitions, the following stand out: “Matriz”, Galeria Leme, São Paulo (2022); “A Terceira” at the Banco do Brasil Cultural Center (2021); “Elaine Arruda and Marcia de Moraes: Full of Emptiness”, Instituto Tomie Ohtake, São Paulo (2014); “À Adrift in the Blue”, Carpe Diem Arte e Pesquisa, Lisbon, (2011).

Marcia has participated in artistic residencies in France and Argentina. In 2011, she won the Funarte Contemporary Art Award, São Paulo; and in 2016, she was awarded the Pollock-Krasner Foundation Grant, New York, USA.