Rebeca Carapiá (1988) uses iron and copper as the main materials in a body of work that unfolds into sculptures, installations, drawings, and prints—and in which twisting, joining, and bringing materials closer together form an abstract calligraphy. Taking the word as a starting point, Carapiá’s works inflate, bend, and section language, displacing it from a linear and monolithic position. Thus, her works take shape as a particular language, resulting from the bond between body, land, memory, and knowledge arising from the artist’s lived experiences, as well as those embedded in the materiality of the pieces.

Rebeca Carapiá has had works commissioned by the 36th Bienal de São Paulo(2025); by Instituto Inhotim, in Brumadinho (2024); and by the 38th Panorama da Arte Brasileira, organized by MAM São Paulo at MAC-USP, São Paulo (2024). She has also held solo exhibitions in São Paulo in 2023, 2021, and 2020—the same year she participated in Pivô Satélite.

In Relevo 01 (from the research Um barco feito para afundar) (2022) the artist proposes a perspectival view of her birthplace and territory of belonging, the Cidade Baixa district of Salvador. She explains:
“By diving into the memories of the territory where I was born and raised, I have sought to listen to the tide and the land in order to create through the encounter between body, territory, memory, ancestry, and materialities. In this performative gesture, the twisted iron and copper mesh tell stories and reflect the environmental racism suffered by vulnerable territories, without reenacting violence.”