Born 1964, Porto Alegre, Brazil.
Lives and works in New York and Porto Alegre, Brazil, USA and Brazil.
Born in 1964 Porto Alegre, Brazil. Lives and works in New York City and Porto Alegre. Her work is in private and public collections including the Museum of Modern Art/MAM in Brazil and has been exhibited internationally at the Kyoto Arts Center, Japan; Kuntlerhaus Bethanien, Germany; Galleri:ID, Stockolm; Kunsthaus Malmo, Sweden, at the Islip Art Museum, Sculpture Space, the Rotunda Gallery, The Brooklyn International Film Festival, the Museum of Modern Art, Salvador, Brazil, Galeria Vermelho, São Paulo at the International Performance Festival in Brazil. She is a recipient of the FUNARTE,Projeteis Contemporary Art Prize from the Brazilian Ministry of Culture, NYFA Urban Artist Iniciative:New York 2008 Fellowship. Through this intentional being, Vieira opens an heterotopic space for mutual occupation by the public and herself. Her seemingly simple rule of equidistant line vibrates, turning an ordinary space into a complex vertiginous space that surrounds and absorbs us, where the two dimensional, three-dimensional and four-dimensional intertwine. A simultaneous articulation and dis-articulation of space the work superimposes extremes of scale from the real dimensions of our bodies in space to the tectonic scale of geographic satellite imagery. - G. Gerbracht ARCHITECTURAL TOPOGRAPHIES PROJECT [2002-present] is an ongoing project that records the lived experience of time and space. It examines the relationship of individuals to our environment through a series of site-specific spatial meditations that integrate drawing, architecture, video and performance. Since 2001 I am using only a basic visual element: one continuous line. Conceptually, each project is a segment of the larger meta-LINE that extends throughout my work/my life. Lately Ive been using the landscape, geography and/or online satellite imagery as references as which determines the shape of each project, in which I become intimately familiar with every millimeter of a given space, using my body and a marker to gradually inscribe time on the skin of architecture. This particular concept of drawing is essentially, a record of lived time. Through the work I assert human existence itself while continually drawing one line that ends up encompassing the entire place, collapsing notions of perspective, scale, interior and exterior opening a space for the viewers to experience a full moment of self awareness. Although linear evidence of the concentrated lived experience accumulates in the space in graphic extremes of black and white, it paradoxically blurs assumed boundaries between origin and destination, inside and outside and ultimately, self and other.