Fefa Lins (1991) is a visual artist with a degree in architecture and urbanism from UFPE. His research investigates the body and gender technologies through oil painting, expanding into objects and architecture. He has held solo exhibitions in São Paulo and Recife, including Fração, Centro Cultural São Paulo (2025), Seis Bocas Abertas, Galeria Verve (2025), and Um Plano de Corte, Torre Malakoff (2024). He has also participated in group shows at institutions such as MASP, Pinacoteca do Ceará, and Museu do Estado de Pernambuco. His work is part of collections including the Pinacoteca de São Paulo, Museu da Diversidade Sexual, Banco do Nordeste, and Soho House Art Collection. Fefa was nominated for the Prêmio PIPA in 2022.

Fio de Alizarina (2025) is part of the artist’s ongoing research into self-portraiture and painting as a gender technology—understood as a field capable of producing, challenging, and rewriting corporealities and ways of being. Here, the figure is placed in an environment that does not correspond to a real place, but to a psychic and mnemonic state. It is an extension of the body that affirms landscape as subjectivity, not as backdrop.

The work challenges the tradition of the reclining figure—historically associated with the representation of cis female bodies under the white European male gaze—by reinscribing this pose through a transmasculine body from Recife. By assuming the roles of both model and author, Lins seeks to destabilize the hierarchy between painter and subject, question systems of representation, and claim the right to invent his own image.

The work was produced during a residency at Pivô Salvador, located in the former studio of Presciliano Silva, a painter from Bahia.