"At her Rio de Janeiro studio, artist Adriana Varejão often leaves the tall accordion doors open-rain or shine. This affords a view of a courtyard that's a frequent stopping place for birds of the surrounding Horto area, set within the larger neighborhood of Jardim Botânico. Those doors harness natural light, and they echo the indoor-outdoor ethos of her hometown, of modernist architecture, and even of her own practice."
"Varejão is one of Brazil's best-known living artists. Working across media, she mines her country's past, exploring and destabilizing legacies of colonialism, and finding endless inspiration in the Baroque, an obsession ever since she visited 18th-century churches of the state of Minas Gerais in her 20s. This past spring, she exhibited a series of oversized Amazon-themed, fiberglass-and-resin plates on easels at New York City's Hispanic Society Museum & Library, which honored her at its gala this past October."
Adriana Varejão’s Rio studio opens to a courtyard frequented by Horto birds, with tall accordion doors that admit natural light and reflect an indoor–outdoor modernist ethos. She draws on Brazil’s colonial past and Baroque visual culture, inspired by 18th-century Minas Gerais churches, to interrogate and destabilize colonial legacies. Working across media, she produces oversized fiberglass-and-resin Amazon-themed plates, paintings with signature craquelure referencing Greek, Iznik, and Song-dynasty pottery, and ceramics influenced by Maragogipinho traditions. Her studio property, purchased in 1994, evolved until a freestanding workspace by architect Rodrigo Cerviño Lopez was added behind the house in 2000.
Read at Architectural Digest
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