My artistic research is about Memory. I am interested in the complexities of the passage of time and the fusion between memory and identity, which in its multiple faces cannot fit in a compartment and in a linear order. The idea of the past is a vital force that moves through our bodies has been an important frame in my research. The past as 'ghost', which virtually coexists with us regardless of our desire or awareness. In this sense, I am learning how to use my body as a channel of passage for this subjective time. I am working on the fabrication of a sensitive body capable of feeling, listening, and dialoguing with frequencies of all things that precede our physical existence.

 

I am fascinated by displacement, territory and the environment with its geography, phenomena and mutability. Throughout my career as an artist, several performances and videos were developed in contact with specific sites, considering the power of the landscape and local elements for creation. Surely I am always looking for sensitive elements, new spatio-temporal organisations, repetitive gestures, sound frequencies, perceptible noises or not, temperatures, sudden cuts, spectra of light and shadows, residues. Magic curves that are able to lead us to the encounter with the inexplicable or insurmountable. In another hand, as a black Brazilian woman, I can see how our diasporic bodies are becoming more and more resilient generation after generation, transforming the deep trauma of slavery – physical, emotional, mental, social and spiritual – into micropolitical actions. Thus, my work is connected to a process of personal and collective healing and transmutation. 

Statement Diagram Time_Rubiane Maia (fig. 1)_1.jpg

I recognise performance as the basis of my working process, but it residues and the tensions with the ephemeral led me to the creation of still and moving images (photography and video). I am also interested in drawing, collage and painting. In recent years, I've been very interested in the soil, its materiality, layers and colourful pigmentation that I am collecting from various parts of the world.

 

Another important component of my art research is writing and voice. Since 2018, I have been developing an ongoing project titled BOOK-PERFORMANCE a series of actions organised into chapters. Part of them developed by fragments of autobiographical written from a long experience with 'automatic writing' and 'psychographic process' (between 2017-18), during my postpartum period. As much of the content reveals trauma related to racism and misogyny, I decided to always invite another black woman to collaborate with me during the presentations. She usually reads the text, while I perform guided by her voice.

THIS VOICE CUTS ME OFF, REMOVING MY FEET FROM THEIR PLACE

Book-Performance, Chapter I / Collaborator: Adelaide Bannerman / Jerwood Visual Arts, London, UK, 2018.

 

THERE IS A VOICE THAT SAYS, SHUT UP. SHUT UP, ALL OF YOU WHO ARE STANDING AT THE EDGE OF THE ABYSS

Book-Performance, Chapter II / Collaborator: Horrana de Kássia / Cultural Center of Banco do Brasil, São Paulo, Brazil, 2018.

 

EVERY TIME I TRACE THE HORIZON MY HANDS CATCH FIRE

Book-Performance, Chapter III / Collaborator: Tiffany Auttrianna Ward / Institute of Contemporary Art, ICA, London, UK, 2022.

 

JUST A SLIGHT RELAXATION OF THE MOORING IS ENOUGH FOR THE BOAT TO START DANCING ON THE WAVE

Book-Performance, Chapter IV / Collaborator: Tatiana Rosa / Matias Brotas Contemporary Art Gallery, Vitória, Brazil, 2020.