Lua Barbosa

 Between the black and the white, between the colonizer and colonized blood: there is me, there is the pigeon, there is the chicken. My practice hacks the visual hierarchy of how lives are valued by the lens of  humans and non-human relations. Thinking with scholars that analyze those interspecies relations historically (especially regarding human’s role inside them), I defend the need to analyze it aesthetically. Through ironic appropriation, I subvert icons and massified imagery of how idyllic birds should be, making hypervisible uncomfortable birds, and staying with the trouble of our relationships with them.

 Planning a transgression of binaries and borders, I decided to be a migrant beyond my personal life. Understanding the medium as a place, the status of the migrant is represented by movement. Therefore, my art practice lies in adapting the movement between painting, ceramics, sculptures and digital media to subvert those visual narratives.