ANA MAZZEI
São Paulo, Brazil, 1979
Lives and works in São Paulo
Ana Mazzei combines organic and figurative forms with a precise geometric sensibility, in works that often nod to the constructive legacy of Brazil’s late modernist movements, especially of the Concretist and Neo-Concretist avant-gardes. Mazzei’s colorful wood sculptures – which may be displayed individually or in groups – deal with fiction in an open-ended format, frequently referencing figures and passages from theater, literature, mythology, and her own personal universe, never quite giving away any reference in an obvious way. Even when using radically different references, the artist’s works tell stories etched into an intimate territory that Mazzei builds, seemingly to find meaning in contemporary life and its
vertiginous experience.
In 2025 Ana Mazzei participates in the “Playground Festival”, Leuven, Brussels; “Fartura”, Luisa Strina Gallery, São Paulo, Brazil; “In Other Hands”, Miettinen Collection, Berlim, Germany; “Tempo Composto”, Galeria Athena, Rio de Janeiro, Brazil. In 2024, Mazzei presented “Garden Scene” a solo exhibition at Martins&Montero, São Paulo. In 2023, she presented the solo show “Love Scene, Crime Scene” at gb agency Paris. Recent solo and group exhibitions include “Vai, vai, saudade”, Museo Madre, Napoli (2024); “The Disagreement: A theater of statements”, Nauer Kunstverein Wien, Vienna (2024); “Uma cadeira é uma cadeira é uma cadeira”, Galeria Luisa Strina, São Paulo (2024); ‘The Bridge Project’, Galpão Cru, São Paulo (2023); 37th Panorama of Brazilian Art at MA M-São Paulo (2022); ‘Vestigios de un pasado posible’, MARCO, Monterrey (2022); ‘Flávio de Carvalho Experimental’, Sesc Pompéia (2022); Americas Society, New York (2022); Glasgow International (2021); “Drama O’Rama”, Sesc Pompéia (2019); “Histórias Feministas”, MASP, São Paulo (2019); 14th Cuenca Biennial, Ecuador (2018); “Corpo-parede”, MAM-São Paulo (2018); 32nd São Paulo International Biennial (2016). She has been selected as a resident artist at the Cité Internationale des Arts, Paris; GASWORKS, London; CAC, Noisy-Le-Ses; Sculpture Studios, Glasgow.
Abismo, 2025
Garapeira wood, polished bronze, copper, oil paint, and impregnating varnish
Unique
36,5 X 20 X 12 CM
Perigeu, 2025
Garapeira wood, wrought iron, polished bronze, oil and acrylic paint and impregnating varnish
Unique
112 X 45,5 X 18,5 CM
In a kind of trompe-l’oeil farce, the sculptural pieces resemble prosthetic creatures of varied constitutions, intertwined to create a fragmented calligraphy of organic and geometric forms. Wood—the artist’s preferred material until now, often used to emphasize a certain fragility and makeshift quality— is now juxtaposed with the solidity of bronze, whose colored patinas add movement and three-dimensionality to bodies in transition.
BERNARDO JOSÉ DE SOUZA, “GARDEN SCENE”, 2024
Eclipse, 2025
Garapeira and cedar wood, iron, wrought iron, polished bronze, oil paint and impregnating varnish
Unique
152,5 X 101 X 39,5 CM
Vênus, 2025
Cumaru wood, bronze with patina, oil paint, and impregnating varnish
Unique
48 X 50 X 51 CM
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. She is interested in the eternal and diverse relations between man and history: landscapes, architectures, fictions, theories and archives. Everything is part of a large narrative construction of man in this world. 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.
CAMILA BECHELANY, FOR THE 32ND BIENNIAL OF SÃO PAULO, 2016
Delíquio, 2025
Garapeira and cedar wood, iron, wrought iron, polished bronze, oil and acrylic paint and impregnating varnish
Unique
118 X 86 X 18 CM
HUDINILSON JR.
São Paulo, Brazil, 1957-2013
Hudinilson Jr. was one of the most important Brazilian artists of his generation, not only through his personal work – produced between the 1970s and 2000s – but also because of his active role as a catalyzing personality in artist groups and experimental exhibitions. Photocopy – the technique that became his favorite over the years both for practical and conceptual reasons – began to interest Hudinilson between 1977 and 1978. During this period, the artist learned to operate the machine to its limit,
exploring all possible graphic possibilities; he enlarged details, cut them, and enlarged them again, distorting the images of his body to the point where they became pure abstract textures. He said that this exercise meant losing oneself to seeing, an “exercise of seeing myself,” as he would later name many of his series.
In 2025, Hudinilson Jr.’s work is the subject of four solo exhibitions: Echoes in Xerox at Kunsthaus Biel, Switzerland, curated by Raphael Gygax; “Ahhh! Beije-me”, a solo exhibition at Martins&Montero, in Brussels; a solo project at 15 Orient, New York, USA; and Exercícios de me ver at KOW, Berlin, Germany. Also in 2025, his work is featured in the group exhibitions Thriller: Think Common, Play Public, part of the Ottignies-Louvain-la-Neuve Triennale in Belgium, and Queering Resistance at Archivo Arké, Madrid, Spain.
In 2023, Hudinilson Jr. was honored with the major solo exhibition Hudinilson Jr.: Tension Zone at ICA Miami. His solo exhibitions include presentations at the Pinacoteca do Estado de São Paulo; São Paulo Cultural Center; MAC USP (Museum of Contemporary Art of São Paulo University); and Scrap Metal Gallery, Toronto. In recent years, his work has also been presented in important group exhibitions such as the 16th Biennale de Lyon: Manifesto of Fragility; Every Moment Counts (Henie Onstad Kunstsenter, Høvikodden); Histories of Sexuality (MASP, São Paulo); Copyart in Brazil – 1970–1990 (University of San Diego); The Matter of Photography in the Americas (Stanford University); United by AIDS (Migros Museum, Switzerland); Glasgow International 2014; and the 31st São Paulo International Biennial.
His work is now part of important collections such as MoMA (New York, USA), Cantor Center for Visual Arts (Stanford University, USA), Reina Sofia Museum (Madrid, Spain), Migros Museum (Zurich, Switzerland), MAGA Museo d’Arte (Gallarate, Italy), MALBA (Buenos Aires, Argentina), MASP (São Paulo, Brazil), Pinacoteca do Estado (São Paulo, Brazil), Museum of Modern Art (São Paulo, Brazil), and the USP Museum of Contemporary Art (São Paulo, Brazil).
Untitled, 2010
Painting on canvas
Unique
55 X 55 CM
Untitled, 2010
Painting on canvas
Unique
55 X 55 CM
First, an explicit and targeted erotization: under his gaze, every image— from ancient Greek and Renaissance sculptures to comic book superheroes; from architectural columns to mythological figures like the minotaur and cupids; from portraits to explicit anatomical fragments—was transformed into an instrument of seduction and voyeurism.
Second, provocative, tactile mottos: phrases like Espelhe-me [Mirror Me!] and Ahhh! Beije-me [Ahhh! Kiss Me!] undid fixed roles of observer and observed, issuing an open, collective invitation. Interwoven with tags like “Hudinilson Jr.” and “Narcisse,” these slogans became his urban signature.
Third, and most profoundly, was the figure of Narcissus. The artist continuously convoked, adopted, and embodied this mythological topos. Through the lens of Narcissus, Hudinilson Jr. saw differently: Narcissus numbs the senses, reality turns psychedelic, a promiscuous interplay between gaze, body, and image where raw desire and the death drive cohabit.
SIMONE ROSSI IN “ESPELHE-ME/MIRROR ME, HUDINILSON JR.”, 2025
Narciso Graffiti-A, 1988
Painting on paper
Unique
63 X 41 CM
Untitled, 2000’s
Painting on paper
Unique
44 X 31,6 CM
Hudinilson Jr. pursued a solo practice through painting, channeling his obsession with reproducibility into the urban skin—an impulse as vital as the xerography that secured his reputation. He operated as the illegitimate heir to two formative influences: Regina Silveira, who introduced him to experimental research and underground networks, and the multimedia school-atelier ASTER (1978–1981), where he honed his skills in printmaking and engraving, techniques that would directly inform his painting,
woodcuts, and xerox practice, many later conserved as limited editions. Through painting, Hudinilson Jr. joined a clandestine brotherhood of artists weaponizing homoerotism, irony, and institutional critique.
SIMONE ROSSI IN “ESPELHE-ME/MIRROR ME, HUDINILSON JR.”, 2025
Narciso Graffiti-A, 1988
Painting on paper
Unique
63 X 41 CM
Untitled, 2000’s
Painting on canvas
Unique
60,3 X 60,8 CM
Untitled, 1980’s
Painting on paper
Unique
74 X 110 CM
From the series Axs Nossxs Filhxs, 2021
Oil, Acrylic, graphite and adhesive plaster on canvas
Unique
180 X 260 CM
Despite the taboo nature of the subject matter, Lia D Castro’s depictions are not salacious or exploitative; rather, they are gentle
and domestic, conveying a sense of intimacy and vulnerability. The works are signed by the client and accompanied by their favorite quotes from theoretical books they have read together, which further emphasizes the intellectual and personal connection that Lia shares with them.
MOHAMED ALMUSIBLI, “THOSE WHO ARE WORTHY OF BEING LOVED”, 2023
Davi, from the series Axs Nossxs Filhxs, 2025
Oil and adhesive plaster on canvas
Unique
40 X 50 CM
Although the men in her paintings are faceless or turned away from the camera, their first names are always stated in the work’s name, revealing a piece of their identity that they are so desperately trying to hide. Castro’s art is a testament to the power of representation and the importance of giving voice to those who are often silenced. By highlighting the experiences of those who exist on the margins of society, she challenges us to confront our own biases and prejudices and to strive for a more just and inclusive world.
MOHAMED ALMUSIBLI, “THOSE WHO ARE WORTHY OF BEING LOVED”, 2023
A Travessia do Rubicão, 2025
Oil on canvas
Unique
70X 50 CM
Davi, from the series Axs Nossxs Filhxs, 2025
Oil on canvas
Unique
50 X 70 CM
A Travessia do Rubicão, 2025
Oil on canvas
Unique
70 X 50 X CM
A Travessia do Rubicão, 2023
Oil and marble powder on canvas
Unique
15 X 21CM / 42 X 30CM (2 parts)
