Julia da Mota (1988) holds a master’s degree in Visual Poetics (USP) and a degree in Architecture and Urbanism (USP/ENSA-Paris La Villette). She has exhibited her work in cultural institutions and galleries in Brazil and Europe, such as Cité internationale des arts, Paris; Casa das Artes in Belém; Museu de Arte de Ribeirão Preto; Museu de Arte de Blumenau; Galería Fermay, Palma de Mallorca; LAMB Arts, London; and AMAC, Chamalières.. She has participated in artist residency programs including Cité internationale des Arts (2024), Pivô Pesquisa, São Paulo (2021), foNTE, São Paulo (2019), East London Printmakers, UK, (2019), and LAMB Arts Billingbear, UK (2018).

Focused on painting and printmaking, Julia da Mota develops an intimate body of work that originates primarily from her relationship with her immediate surroundings. Drawing on elements of abstract minimalism and architecture as her lexicon, the artist pursues a phenomenological approach to the female body in relation to constructed spaces. She is particularly interested in the intersections between the notions of landscape, duality, and boundary.

Nascer (2024) is part of the series Pele-território (2024–ongoing), in which the artist explores the concept of skin as “the thin and resilient boundary that separates us from our immediate surroundings” and also as “that which protects us and ensures that we are not one with the rest.” Through the question “To what extent does a surface cease to be a body and begin to be landscape?” Julia da Mota investigates in her recent works the perception of skin not only as a physical and protective barrier but as a dynamic and expressive boundary that connects us to a broader territory.

The work is part of the research developed by the artist during her residency at Cité internationale des arts, in Paris (2024), where she worked with mineral pigments such as Brazilian soils from Mantiqueira, Venetian red earth, and ultramarine blue, a pigment historically charged with notions of power and territorial disputes. In Nascer, the notions of landscape and body merge through the overlapping of layers and pigments in a diluted painting, creating space for something new to emerge—a sunrise, a cycle, or a new life.