Erika Verzutti (1971) lives between São Paulo and Europe. In her work, she exercises free combinations of disparate elements and styles. Her materials can be classic, such as bronze and clay, or domestic, such as papier-mâché and cardboard. Many of her sculptures refer directly to nature through the use of molded fruits and vegetables, while others engage with contemporary issues through images from newspapers and internet phenomena, for example.

Her solo exhibitions include The Life of Sculptures, LUMA, Arles, France (2024); Notizia, ICA Milano, Milan, Italy (2024); Hessel Museum – Bard College, Annandale-on-Hudson, NY (2023); Museo Experimental El Eco, Mexico City (2023); MASP, São Paulo (2021); Nottingham Contemporary, Nottingham, UK (2021); Centre Pompidou, Paris (2019); and Pivô, São Paulo (2016). Institutional exhibitions include the 57th Venice Biennale (2017); 32nd São Paulo Biennial (2016); 34º Panorama da Arte Brasileira, Museu de Arte Moderna de São Paulo (2015); Carnegie International, Pittsburgh (2013); 9th Mercosul Biennial, Porto Alegre (2013); and 11th Lyon Biennale (2011).

Her works are part of public collections such as Tate Modern, London; Centre Georges Pompidou, Paris; Carnegie Museum of Art, Pittsburgh; Guggenheim Museum, New York; Collection François Pinault, France; Inhotim, Brumadinho, Brazil; Museu de Arte Moderna de São Paulo; and Pinacoteca do Estado de São Paulo, among others.

The drawing Estudo para escultura com vento (2025) is made over a pink acrylic plaster background, inspired by the drypoint engravings of Leonardo da Vinci. The work is created using carbon paper, so the artist doesn’t know the final result until the moment of removing the paper and revealing the image.