Bachelor, Master, and PhD candidate in Visual Arts at the School of Communications and Arts of the University of São Paulo.

I chose art because of the possibility of not needing to become a specialist. A cook in the morning, an anthropologist in the afternoon, a DJ at night, and so forth. I traverse paths intersected by culinary arts, anthropology, pedagogy, and always end up on the dance floor. In these interactions, I seek to explore inter-, trans-, post-, and undisciplinary possibilities. I’m also attentive to knowing and understanding the various worlds that inhabit this world and the relationships among plants, animals, and others that aren’t human. I maintain projects of unforeseen duration: valderramas_project, Culinary Drift, Forest School. I bring together people to create together in the kitchen, at school, on the dance floor, but that’s not all.

I participated in the residency at CRD (Centro de Referência da Dança) in 2024 and 2023. In 2023, in partnership with Tatiana Guimarães, a dance artist, I created Pura Selva, an artistic project of performance and dance. In 2022, I started Composition Practices (a performance, movement, and expression laboratory) in partnership with Filipe Barrocas. In 2021, I began public pedagogy in partnership with Mônica Hoff and also curated the Infinite Pedagogy program at Aeromoto in Mexico City. Since 2020, I have proposed a program called Shared Practices, involving the formation of diffuse community zones, community practices and knowledge, and a shared place for formation and self-formation. In 2020, I was the educational curator of the Valongo Image Festival, an edition suspended due to the pandemic. In 2019, I conducted the workshop “No sea curioso!” at the International Seminar on Pedagogies of Contingency at MUAC in Mexico City; I coordinated Tania Bruguera’s Useful Art School program at the exhibition “We are many: experiences of collectivity” at the Pinacoteca in São Paulo. In 2018, I was an artist-in-residence at Social Soups, a project on food as social transformation in Genoa, Italy, and participated in the Extraordinary School of Craft with Mônica Hoff, Kamilla Nunes, and Cristina Ribase in Florianópolis, SC.

In the Argentine Patagonia, I was the curator of the Barda del Desierto Artistic Residency in the editions of 2017, 2018, and 2019. I was the educational curator of the second edition of the Frestas Arts Triennial – Between post-truths and events at Sesc Sorocaba in 2017. In 2016, I was selected for Permeable Practices: curating and education, a program of the 32nd São Paulo Biennial – Living Uncertainty and participated in the residency program of Intervalo-escola, organized by Cláudio Bueno and Tainá Azeredo in São Paulo, SP. I worked as coordinator of educational services in the following institutions: Tomie Ohtake Institute (2015), 28th São Paulo Biennial (2008), Itaú Cultural (2005 – 2006).

Among the educational publications I produced, I highlight: Notes for education to remember art and politics (and art to remember politics and education – and politics to remember art and education) for the exhibition “Entrevendo” by Cildo Meireles at Sesc Pompéia, 2019 (co-authored with Valquíria Prates) and A Guide to Imagine Other Possible Schools for the Frestas Arts Triennial – Between post-truths and events at Sesc Sorocaba, 2017. I have published in academic journals: In 2020, Art, formation, and transformation in the trajectory of three contemporary Brazilian artists in the “Farol” Journal of the Postgraduate Program in Arts at UFES and Public Reading of the Figueiredo Report in the “Mesa” Journal; Forest School | Brief notes or a collage-text written by many hands and means in the “Poiesis” Journal of the Postgraduate Program in Arts at UFF, in 2019. In 2016, I translated the text “How to Do?” by Tiqqun (in collaboration with Fernando Scheibe and Kamilla Nunes). Between 2011 and 2014, I was an art teacher in elementary school at Ágora School, in Cotia, SP.

Among the exhibitions I participated in, I highlight the solo exhibitions: Plus, again at 55SP, São Paulo, SP [2022]; We Must Think at Correlación Contemporánea, Lima, Peru [2021]; We are all scratchers at Periscópio Contemporary Art [2019]; Tropical Delirium at UnimediaModern in Genoa, Italy; Forest School [Reading of the Figueiredo Report] at Oswald de Andrade Cultural Workshop [2016]; Sunday, at Periscópio Contemporary Art, Sole Paragraph at Pivô, and Common Use Property at Ateliê 397 [2015]; Camouflage on the facade of Vermelho Gallery [2007], View to the Sea at São Paulo Cultural Center [2006], Landscape #4 at Paço das Artes [2005]. Additionally, I participated in various group exhibitions in Brazil, highlighting The Rule and The Exception at Ateliê 397 [2023], Nobody Will Topple Our Flag, through the streets of São Paulo [during Carnival 2021]; The Falling Sky at Caixa Cultural Brasília [2019]; Democracy Utopia Art at Rio Art Museum and State(s) of Emergency at Paço das Artes [2018]; The Flags of Revolution – Pernambuco 1817/2017 at Joaquim Nabuco Foundation [2017]; Now we are over a thousand at Parque Lage and False Land at Coletor [2016]; As the Other Says at Coletor, Hypothesis and Horizon at Observatório [2015]; Starting from the Mistake at Pilar Gallery, Taipa-Tapume at Leme Gallery, and Slide – Surf Skate at Rio Art Museum [2014]; No Longer Impossible at CCBNB Fortaleza, Disappearance Techniques, near Guantánamo, Cuba, and Opening Up at A Gentil Carioca [2012]; Because Yes. at Millan Gallery and Summer Exhibition at Silvia Cintra + Box4 Gallery [2011]; 15th Bahia Salon at MAM Bahia [2008]; Panorama of Brazilian Art at MAM São Paulo with the EmpreZa Group and Occupation at Paço das Artes [2005]; Artist Character at Mariantônia [2004], Neighbors at Vermelho Gallery [2003] and 9th Bahia Salon at MAM Bahia with the rejected project [2002]. In 2001, I was one of the creators of the EmpreZa group, which I was a part of until 2007.

I have works in two collections: Banco do Nordeste do Brasil in Fortaleza, CE and Madeira Corp. in Madeira Island, Portugal.

Recently, I started doing tapestry.
I prefer to write in Portunhol.