“Green, pink and burgundy tongues”

Marcia de Moraes finds in the abstraction of line and the use of colored pencils the poetic direction for her creations. Her work begins with fluid and agile graphite sketches, which then gain intense colors and unique combinations. The result is compositions in constant transformation, in which lines and hues cross the boundaries of the paper. Frequently articulated in diptychs, polyptychs, and collages, her works explore the rhythm between continuity and rupture, achieving three-dimensionality in recent experiments with glazed ceramics.

With a Bachelor's and Master's degree in Arts from Unicamp, Marcia develops research focused on drawing and the expressiveness of organic forms, exploring the balance between technical control and lyrical improvisation. Her work engages with the legacy of Brazilian abstraction, evoking movement and emotional density in intense chromatic compositions.

Among her main solo exhibitions are “Electric Scenes”, Simões de Assis Gallery, Balneário Camboriú (2025); “Bone Point”, Artium Institute, São Paulo (2024); “Matrix”, Leme Gallery, São Paulo (2022); “The Third”, Banco do Brasil Cultural Center, São Paulo (2021); “Open Circles”, SESI Tiradentes – Yves Alves Cultural Center, Tiradentes (2018); “History of the Eye”, Leme Gallery, São Paulo (2018); “Banquet”, Luciana Caravello Contemporary Art, Rio de Janeiro (2017); “The Fossils or the Oranges”, Oswald de Andrade Cultural Workshop, São Paulo (2016); “Fallen Acts”, Leme Gallery, São Paulo (2015); “Elaine Arruda and Marcia de Moraes: Full of Emptiness”, Tomie Ohtake Institute, São Paulo (2014); “El Extraño”, Fundación Ace, Buenos Aires (2013); “Um Corpo que Cai”, Museu de Arte de Goiânia (2012); “À Deriva no Azul”, Carpe Diem Arte e Pesquisa, Lisboa (2011); and “Saint Clair Cemin et Marcia de Moraes: Correspondance Brasilienne”, VL Contemporary, Paris (2011).

She has participated in group exhibitions at institutions such as the Contemporary Arts Center (Cincinnati, USA), the Eugénio de Almeida Foundation (Évora, Portugal), SESC Quitandinha (Petrópolis), and the Ribeirão Preto Art Museum (MARP). She was an artist-in-residence in France and Argentina, and received the Funarte Contemporary Art Prize (2011) and the Pollock-Krasner Foundation Grant (2016). Her works are part of public and private collections, including the Ministry of Foreign Affairs (Brasília) and MARP.