Desali (1983) holds a degree in Visual Arts from Escola Guignard (UEMG). They were part of exhibitions such as Histórias Brasileiras (MASP); Quilombo: vida, problemas e aspirações do negro (INHOTIM); Brasil Futuro (Museu Nacional da República, Brasília); Enciclopédia Negra (Pinacoteca de São Paulo); Carolina Maria de Jesus: Um Brasil para os brasileiros (Instituto Moreira Salles); Sertão, Panorama 36 (MAM-SP); Bolsa Pampulha (MAP); the 32nd Salão Arte Pará; Salão de Itajaí; and Salão de Goiás. Furthermore, they also took part in the Pivô Pesquisa residency program and have works in the Arte da Cidade collection from Centro Cultural São Paulo – CCSP, at Museu de Arte da Pampulha (MAP), Pinacoteca de São Paulo, and Museu da Inconfidência in Ouro Preto, MG.

Founder of the collective Piolho Nababo, Desali has been based in Belo Horizonte for ten years and moves fluidly across multiple media, including graffiti, photography, video, and urban intervention. Their practice promotes contact between margin and center, questioning traditional artistic institutions and their colonial structures, and contaminating these spaces with the streets.

suplemento ardil (2025) is part of the installation Pesa nervos, which explores the “plasticization” of worlds. The technique used in the painting combines resin and glue, emulating the malleability of plastic and evoking the everyday artificiality inherent in the social construction of gender and race. In the artist’s words, “plastic as the petroleum totem of patriarchy, plastic as the dildo.” The plastic, derived from petroleum and once a symbol of neoliberal control and domination, is here subverted into a new redemption.

The work, therefore, materializes Preciado’s petrosexoracial critique, exposing the intrinsic connection between fossil fuel extraction, gender normativity, and racial hierarchy.

The piece was featured in the exhibition Nossa Senhora do Desejo, held at Galeria Almeida & Dale and curated by Lisette Lagnado.