Passarinho

This series contains four prints that take place in a magical and nostalgic world that revolves around childhood, while having an uncomfortable presence, reflection of trauma, emotional abandonment and hidden pain.These engravings use the mixture of two techniques etching and aquatint and are 15x15 cm. A metal plate, in this case copper, is used as a matrix. Engraving is done using acid. In etching the matrix plate is polished and covered with a protective layer of wax, the wax is then gently scratched into the engraving patterns. Where there is wax the plate is protected from the acid, where the wax has been scratched the acid will corrode creating grooves. This technique creates lines, to build shades, the aquatint technique is used, in which rosin powder is used to create a granulated film, which allows the creation of several layers and shades of gray reaching an almost black filling. In order for the rosin grains to be spread evenly, special machinery is needed, a large chamber with a lever system that launches the rosin powder into the air, which then falls naturally forming a thin layer on the plate. The areas to be protected are covered with resin and the plate is dipped in acid once for each shade of grey. Printing is done using a press, the paper must be previously moistened and the ink applied to the matrix plate.

This androgynous creature is related to the dream world. I dreamed that a group of people and I accidentally entered the house of a very powerful goddess. She was a bird goddess and was associated with the color blue. I tried to warn everyone to be very careful and that we needed to get out of there really fast, she could kill us if we did something wrong. Before I could finish the warning a friend was already entering and exploring the house, I run after her super worried. We pass by the goddess sleeping soundly on the sofa in a room next to her baby's room. It looks like the baby was just born and she's pretty exhausted as a new mother is. The baby is giant, just like her mother, but they didn't have a bird's head, the shape was very human indeed. I call my friend before she gets anything done and we head back to the living room. I think the goddess wakes up later and helps us continue our journey. When I was producing this print at the University of Brasília, a colleague told me that she had already dreamed of a very similar scene, where there was a kind of bird-like creature, with ambiguous genitalia and in an environment that looked like a nest. This print was produced before I discovered myself as trans, but it is related to gender feelings, in this ambiguous and non-binary space.