Luiza Crosman (1987) lives and works in São Paulo. Artist and writer, her practice spans drawing, installation, speculative design, education, and institutional dynamics, with a particular focus on infrastructural methodologies. She explores feedback loops between forms of human organization, new technologies, and global and planetary systems.

Crosman was a researcher at the Strelka Institute – The Terraforming (Moscow, Russia, 2020) and among her exhibitions and projects are: Ool – programa educativo para a CASA-ESCOLA (Casa do Povo, São Paulo, 2021); Open Ended Encounters (aarea, 2020); Open Skies (WIELS, Brussels, 2019); and Afinidades Afetivas (33ª Bienal de São Paulo, 2018). Her writings have been published in both English and Portuguese in outlets such as Passepartout Journal, TANK, Strelka Mag, Arts of the Working Class, and revista poiesis.

Paralelas se encontram (2020–2023) is part of the series Gráficos acumulam poeira, which she began during the COVID-19 pandemic. Crosman recalls it as a fragile moment when she was deeply engaged with the works of Richard Tuttle and surrounded by emblematic graphs—COVID-19 curves, and oil prices dropping below US$0. She explains it took three years to understand how these could exist while preserving their fragility, the threads under the weight of gravity and the surrounding air as part of the work. Manipulating these elements, she created a kind of metallic prosthesis that simultaneously occupies the place of something that was missing and remains alien to the original drawing’s body—like synthetic fingers holding it away from the wall, allowing its passage from the two-dimensional to the three-dimensional.

The title Paralelas se encontram plays on the Euclidean idea that parallel lines could meet if extended infinitely: an expression of temporal and spatial possibilities and their distortions.