My first interactions/aspirations with art were based on the act of observation;
I was looking for a form of expression hidden under forms and shapes, feeling the flow of sensations that aroused in me.

From there, I acquired new meaning on my perception of nature and ancestry and their respective bond, with elements that connect and repel each other, in consonance or dissonance throughout time, thus revealing and concealing such impressions. Upon that place, the interactions between these substances lead me to project visions and radiation inherent to my individual and collective experience. Soon came the first sketches, paintings, cuttings and experiments; from that moment on my path began.

Another significant part of my contact with arts refers to experiences provided by my family members, most of them soulful artists.
Through these people I transported myself under the wings of their productions, experiences and research. There was a mixed feeling of rite and dream in this process, along with everything that could reverberate as a visual expression. This experience put me in direct contact with different languages, from paintings and sculptures to music, where the legacy of my grandfather, the sambista Batatinha, glows, surrounded by rhythmic and poetic essence, fundamental compositions that illuminate the portraits and narratives of the black peoples.
This force awakened in me a magnetic identification with his lyrics, crossing over beyond the Cartesian time of the clock hands.

And from within this cauldron I created my narrative and trajectory, researched, found my references, while I was transposing myself as an artist; I was captivated by the approaches of impressionist social and cosmophotonic aspects of artists such as: Joana Choumali, Alexis Chivir-Ter, Kazu Saito, Rosana Paulino, among many others.