Mayara Ferrão (1993) is a visual artist and creative director who graduated in visual arts from the Federal University of Bahia (UFBA). Her artistic practice encompasses photography, illustration, painting, creative and scene direction, using image technologies, artificial intelligence, and video to create, construct, and disseminate narratives of Black, Indigenous, and dissident bodies. She directed the film Orixás Center (2021), which won an award at the 5th Mostra Lugar de Mulher é no Cinema.

In 2024, she took part in an artist residency at Pivô Arte e Pesquisa in Salvador and published her essay Álbum de Desesquecimentos in Revista ZUM. She has participated in several group exhibitions, including Histórias LGBTQIA+ at MASP; Ancestral: afro américas – Estados Unidos e Brasil at the Museu de Arte Brasileira da FAAP; Memórias Habitadas at SESC-RJ; Inomináveis Presenças at Centro Cultural Banco do Brasil; Raízes: começo, meio e começo at the Museu Nacional da Cultura Afro-brasileira; and ANCESTRAL FUTURES: BRAZILIAN CONTEMPORARY SCENES in Arles. Recently, her work became part of the permanent collection of the Museu de Arte de São Paulo (MASP). In addition, Ferrão held her first solo exhibition, O primeiro rastro foi água, in 2025—the same year she won the SAUER Art Prize at SP-Arte 2025 as Emerging Artist of the Year.

O beijo 2 (2024) is part of the series O Álbum de Desesquecimentos, which investigates the relationships between image, memory, and coloniality. Through the intersection of archival material, analog photography, and artificial intelligence, the work proposes a symbolic reconstruction of erased narratives, focusing on Black and Indigenous women made invisible by official historiography. It understands the act of fabulation as a critical and poetic methodology capable of challenging the boundaries between document and invention, presence and absence, reality and fiction. The work was featured in the exhibition Inomináveis Presenças at Centro Cultural Banco do Brasil (2025).