LETÍCIA BARRETO, 1974, Sorocaba/SP – Brazil. Fine artist and art educator. She is currently living and working in Lisbon, Portugal. She studied fine arts at Instituto Lorenzo di Medici in Florence, with Rotary Foundation´s scholarship. She holds a Master’s degree in Visual Arts and Intermedia from Évora University in Portugal. She has exhibited in Brazil, USA, Ecuador, Italy, and Portugal. Among her exhibitions are: “Implosão: trans(relacion)ando Hubert Fichte” organized by Goethe Institut - Centro de Arte Hélio Oiticica - Rio de Janeiro and Museu de Arte Moderna da Bahia - Salvador; Nós os Outros, SESC Sorocaba (2016); Linhas do Destino, Galeria Fernanda Monteiro, Sorocaba/SP (2016); Poipoidrome - Frestas Trienal de Arte, SESC, Sorocaba/São Paulo (2015); Woundscapes, suffering, creativity and bare life, Pavilhão Preto - Museu da Cidade, Lisbon (2012), and Centro Universitário Maria Antônia - USP/ São Paulo (2013), Museu do Esquecimento II, Galeria Palácio de Galveias, Lisbon (2009). Her artwork comprises several ways of expression, mostly focusing on painting, drawing, photograph, visual analogy, intervention on objects and urban intervention.
"Through the idea of whitewash as a synonym for purification, Letícia Barreto´s work reveals what is behind the colonialist discourse when it tries to justify or reinforce the ideology of racial inferiority of nonwhites.Through a kind of erasing process, resulting from the use of bleach and abrasion, to bleach out the surfaces she works on, the artist suggests a kind of forgetfulness, as if the white could hide or overlap the black. It is an attack that depigments the surface, whether it be fabric or photography, leaving only a glimpse, a shadow of a neglected culture. In this palimpsest, the light that should be used to clarify, to unveil, to shed a light on, just helps to hide, dimming the sight of one who tries to get closer to observe what seems to be the real truth. The white becomes silence, absence, oblivion, wiping the difference off. This difference is not appreciated, but exoticised and taken to the category of the bizarre."
Fernanda Monteiro (curator)
1) From the series “Almost Family” #01, 2016. Digital intervention on 18 photographs. Printed on photo paper, bleach. Dimensions variable.
2) From the series “Decolonialism” #02, 2016. Digital intervention printed on photo paper. Intervention with metal tip. Dimensions variable.
3) “Redemption of Ham”, after Modesto Brocos Y Gòmez, 2014. Bleach on cloth. 1,20 x 1,60 m.
4) From the series “Ex-Centric”, 2016. Watercolor on paper. 35 x 27 cm.
5) From the series “Stained Ocean” #01, 2015. Bleach on cloth. 1,22 x 1,62 m.