Abiniel João Nascimento (1996) lives and works in Recife. As an artist, they are interested in the transmutations of presence as a starting point. Their investigations focus on a poetics grounded in territory, revisiting themes such as Indigenous identities and the conjugations of Brazilian memory, aligned with vegetal, mineral, and animal lives and temporalities. Their practice includes sculpture, painting, and installation.

They have participated in national residencies such as Sertão Negro (2025), Pivô Arte e Pesquisa (2023), and Terra Saúva (2024); and international ones at Galerie Paradise, Nantes (2022), and École Nationale Supérieure d’Arts à la Villa Arson, Nice (2024). Their works are part of both private and public collections, including Museu de Arte do Rio, Museu de Arte Moderna Aloísio Magalhães, and Museu de Artes Plásticas de Anápolis. They hold a Bachelor’s degree in museology (UFPE), is currently pursuing a master’s in visual arts (UFPE), and has training in expanded photography (EAV Parque Lage).

In Tongue I (2025), Abiniel starts from what he calls “rastro-fágico” (trace-phagic) to record the passage of matter’s states through fabric. It is a recording of the decomposition of fruits, vegetables, and seeds that reflects on how the earth’s own self-feeding organizes itself, as well as on how these state changes of matter (from solid to liquid to gaseous) point to the dissolution of boundaries between creation of life and of death, of presence and absence, visible and invisible.

The work was featured in the solo exhibition A Grande Boca (2025), curated by Ariana Nuala at Oficina Francisco Brennand, Recife.