PT
Wing (2026) reflects Haar’s experiments in moving from the practice of drawing on paper into the field of painting through the technique of marouflage.
Marouflage became established during the Renaissance and historically consists of permanently adhering a flexible surface to a rigid support. In this work, Japanese paper is stretched and affixed to canvas using rabbit-skin glue, a material that has been used for centuries in painting and the conservation of artworks. By incorporating this historical procedure, the work establishes a dialogue between ancestral techniques and a contemporary investigation into the transfer of the image, the materiality of drawing, and the permanence of its traces.
Haar’s drawings and paintings are made directly, without preparatory studies, so that the composition emerges as the freezing of an abstract configuration, simultaneously inscribed in memory and produced by the gesture of the present.
Renata Haar (1981) precisely combines transparency and invisibility, using materials to manipulate light and create delicate yet tangible surfaces. Her works inhabit an intermediate state, blurring the boundaries between presence and absence. The semitransparent nature of her work invites the viewer to engage with the ethereal qualities she constructs. Her use of spiritual minimalism focuses on the subtle power of the neutral. Refined tones and forms emphasize the invisible, creating a discreet tension that explores the interaction between materiality and the intangible.
Haar’s solo exhibitions include Night Dusk Dawn (2025), Inefável-Ultrafino (2024), and Like a Type of Wind (2020). She has participated in art fairs including The Armory Show, ArtGenève, Drawing Now, and SP–Arte. Recent group exhibitions include projects at Goethe-Institut Kinshasa (2025), Fortes D’Aloia & Gabriel (2023), and Sofia Art Week (2022). She was nominated for the SAUER Art Prize (2025) and CIFO (2017/18), and was part of Agora Collective (2012–2018), with which she received the Collaborative Arts Partnership Programme. Her works are held in institutional and private collections in Brazil and Europe.