Ana Clara Tito’s (1993) research departs from an interest in the relationships we establish with the spaces we build and inhabit. In objects, photographs, performances, and installations, their work incorporates elements that evoke architecture, archaeology, and intimate artifacts. Materials such as concrete debris, clay shards, oxidized metals, and fragments of mattresses are used to construct a universe that reflects on boundaries—both bodily and those of parity. Their works present a landscape that is at once constructed and dismantled, within a spatiality marked by incompleteness.

In 2023, Tito held solo exhibitions at Galeria Cavalo, in Rio de Janeiro, and Auroras, in São Paulo. In 2021, they presented the solo show O que se degrada segue em frente at MAM Rio. They have participated in group shows at Museu de Arte do Rio, Instituto Moreira Salles, Valongo Festival Internacional da Imagem, Galpão Bela Maré, among others. In recent years, they have taken part in residencies at FAAP (2023), Pivô (2022), and MAM Rio – Capacete (2020). They hold a degree in industrial design from Esdi-UERJ and a master’s degree in visual arts from PPGArtes UERJ. They participated in the 38th Panorama da Arte Brasileira and is a co-founder and member of Nacional Trovoa.

An important part of Ana Clara Tito’s research involves questioning the status of the photographic image within the common imagination regarding truth and its uses as a document in the legal field. Thus, they treat all photographs as constructed images, even those not defined or presented as such. In their experimental practice, one of the paths toward this particular way of engaging with photography is to confront it together with matter—generally materials common to their work, such as concrete and others that reference construction techniques. The degradation of photographs becomes a central intention in this search and inquiry.

Untitled (2023) is precisely the result of analog and digital manipulations of photographic prints after direct contact with concrete mass, producing an image that highlights the ambiguous relationship with time perceived by Tito in the architectural spaces that interest them, where memory and the construction of the future are ever present.