Maria Nepomuceno Brazilian
玛丽亚·内波穆塞诺
我一直在打造一个被时间遗忘的空间……那里充满了人类原始的力量，那里有自然的灵性，有我熟悉的热爱的传统的文化。
——玛丽亚·内波穆塞诺
[ I love that place. It was really a challenge, to be able to have the power to make all those references and pieces from different historic periods somehow be submerged in an absence of time. It was as if I was placing everything into a black hole where it would be suspended in time. ]
Maria Nepomuceno Brazilian
Wood, straw, necklace beads, resin, string, ceramic 74 3/4 × 68 7/8 × 65 in | 189.9 × 174.9 × 165.1 cm
Maria Nepomuceno, installation view of “Big Bang Boca,” 2023, Instituto Artium, São Paulo/Photo: João Caldas
Maria Nepomuceno Brazilian
玛丽亚·内波穆塞诺：
“我想创造一个让人们能够暂时悬浮于时间之中的地方。”
b. 1976
Maria Nepomuceno pushes ancient traditions and complex craft techniques into a wholly contemporary engagement with space and structure, form and concept. Using traditional methods of rope weaving and straw braiding as well as techniques of her own design the artist has, since the early 2000s, developed a process of sewing coils of coloured rope in spirals. She explores the potentially endless permutations of this adaptable form in sculptures and installations that incorporate beads, playful ceramic forms and found objects of varying sizes.
Nepomuceno’s works are chromatically, culturally and metaphorically rich, suggesting animals, plants, the human body and landscapes ranging from the microscopic to the macroscopic. That the sculptures appear anthropomorphic and organic is essential to a reading of the work: the spiralling central to Nepomuceno’s process relates to the spirals occurring naturally throughout the universe, giving shape to entire galaxies as well as the blueprint for existence, DNA. The results are intended to harness the extended time of their making while simultaneously inviting the viewer to pause, draw close and engage with complex cycles of energy and creation.
Maria Nepomuceno Sant’Angelo – Lapa, 2024 Murano glass, rope, found object, clay and beads
玛丽亚·内波穆塞诺（生于1976年，里约热内卢）在维多利亚·米罗梅菲尔画廊展出了她那些充满情感、脉动、丰腴的组装作品。这些作品充满了丰富的文化元素，其幻觉般的创作让人联想到动物和人类身体部位、奇异的植物以及外星景观。Maria Nepomuceno将古老传统与复杂工艺技法推向全新高度，使其与空间、结构、形态及概念形成完全当代化的对话。自21世纪初起，这位艺术家便以传统编绳、编草技艺为基础，结合自身独创技法，发展出“彩色绳索螺旋盘绕缝制”的创作流程。在其雕塑与装置作品中，她会融入珠子、趣味陶瓷造型及不同尺寸的现成物件，以此探索这一灵活形态的无限可能。
内波穆塞诺的作品在色彩、文化与隐喻层面均极具深度，其形态可让人联想到动物、植物、人体，以及从微观到宏观的各类景观。这些雕塑呈现出的“拟人性”与“有机感”，是解读其作品的核心：内波穆塞诺创作中至关重要的“螺旋元素”，与宇宙中自然存在的螺旋结构相呼应——它既塑造了整个星系的形态，也是生命存在的蓝图（DNA）的基本结构。艺术家创作这些作品的初衷，既是为了承载创作过程中“时间的延展感”，同时也希望引导观者停下脚步、近距离观察，进而感受能量与创造的复杂循环。
艺术家 玛丽亚·内波穆塞诺
Out of the window 1, 2021 Ropes, beads, straw, resin, wood, glass, iron 89 3/4 × 47 1/4 × 23 5/8 in | 228 × 120 × 60 cm2023
玛丽亚·内波穆塞诺 Untitled, 2021 Ropes, ceramic, clay, beads, wood, glass, iron 59 1/8 × 39 3/8 × 33 1/2 in | 150.2 × 100 × 85.1 cm
她在大学专业是工业设计，她表示她本身对物体有着浓厚兴趣，或许当时已具备雕塑式的思考方式，只是并未立刻察觉。求学期间，她更倾向于绘画，而非创作三维物体，最初选择学习工业设计，是觉得研究设计相关材料会很有趣，于是决定尝试产品设计方向。然而在学习过程中，她逐渐意识到产品设计并不适合自己。不过，那段学习经历让她有机会接触到工作室与各类工具，得以尝试运用木材、钢铁、丙烯酸等材料进行实践。
Maria Nepomuceno, installation view of “Big Bang Boca,” 2023, Instituto Artium, São Paulo/Photo: João Caldas
您是否忠爱克莱因蓝色？
玛丽亚·内波穆塞诺（MP）答：的确如此。但在巴西艺术领域，影响我的艺术家横跨不同年代与风格。比如，雕塑家塞莱达·托斯特斯（Celeida Tostes）的作品就让我深受触动，她擅长以黏土为创作材料；还有巴伊亚州坎东布雷（Candomblé）宗教传统中的代表人物迪迪大师（Mestre Didi），我格外欣赏他所用的材料，也欣赏他从不言说自己的作品——这种留白为作品增添了神秘感。此外，我还钦佩杰出的雕塑家尼尔森·埃迪（Nelson Eddy）与塞尔吉奥·德·卡马戈（Sérgio de Camargo）。
对我产生影响的还有我的画家舅舅，以及欧普艺术（Op Art）与动态艺术（Kinetic Art）领域的艺术家维克托·瓦萨雷利（Victor Vasarely）和亚伯拉罕·帕拉特尼克（Abraham Palatnik）。我曾深深着迷于赫苏斯·拉斐尔·索托（Jésus Rafael Soto）的作品，甚至对亚历山大·考尔德（Alexander Calder）也颇有好感——他在雕塑中融入了“动态”理念。我还喜欢一些知名度不高的艺术家，比如玛里利亚·克兰茨（Marília Kranz），我曾在家中见过她的作品。我们家藏有一幅她的画作，就像家中常见的物品那样，潜移默化地给了我诸多影响。后来我发现了乔治亚·奥基夫（Georgia O’Keeffe）的作品，便推测克兰茨一定受过她的启发。
正是从这些艺术家身上，我培养出对色彩的热爱，这份热爱无疑影响了我对待艺术的方式。还有米罗（Miró），也对我有启发。其实有很多艺术家的影子都能在我的作品中找到，只不过我会对这些影响进行重新加工。有时我会说“创作这件作品时，我想到了马格里特（Magritte）”，可人们根本看不出来。但我确实认为，我对物件的运用方式中带有一丝超现实主义色彩——比如将画笔转化为树枝，便是典型的例子。
玛丽亚·内波穆塞诺 Untitled
玛丽亚·内波穆塞诺 Untitled
Maria Nepomuceno is a sculptor and installation artist whose labor-intensive practice is based upon traditional weaving techniques. Nepomuceno originally studied painting and drawing, and later explored interests in industrial design and philosophy. Using bright colored fibers, she makes soft forms that she then assembles into pieces in an additive process. Sometimes with the help of volunteer artists and artisans, Nepomuceno creates installations that fill rooms or extend beyond the exhibition space and into their surrounding landscapes. Certain forms recur in Nepomuceno’s work, including vessels, hammocks, beads, bulbs, and tubes. She considers the spiral to be a central image and unifying motif, in part because “It always makes the same movement but always into a new path.”
Beads, ceramic, resin 39 3/8 × 23 5/8 × 11 3/4 in | 100 × 60 × 29.8 cm
Mundinho 1, 2021 cordas, contas de colar, cerâmica, palha trançada, barro , tinta acrílica, resina, tinta automotiva
玛丽亚·内波穆塞诺
Maria Nepomuceno
Untitled, 2025 Strings, necklace beads, wood, paper, resin 51 1/8 × 35 3/8 × 11 3/4 in | 129.9 × 89.9 × 29.8 cm
Wood, straw, necklace beads, resin, string, ceramic 74 3/4 × 68 7/8 × 65 in | 189.9 × 174.9 × 165.1 cm
Wood, straw, necklace beads, resin, string, ceramic 74 3/4 × 68 7/8 × 65 in | 189.9 × 174.9 × 165.1 cm
Wood, straw, necklace beads, resin, string, ceramic 74 3/4 × 68 7/8 × 65 in | 189.9 × 174.9 × 165.1 cm
String, beads, wood, glass, fabric, paint, ceramics
String, beads, wood, glass, fabric, paint, ceramics
String, beads, wood, glass, fabric, paint, ceramics 59 × 65 × 13 3/4 in | 149.9 × 165.1 × 34.9 cm
Maria Nepomuceno, Você me alimenta, 2022 Straw, fabric, ceramic 63 x 320 x 343 cm
Out of the window 3, 2021
Ropes, beads, clay, straw, resin, wood, glass, iron
Wood, necklace beads, resin 37 3/8 × 33 1/2 × 13 3/4 in | 94.9 × 85.1 × 34.9 cm
Maria Nepomuceno San Marco – Cinelandia, 2024 Murano glass, braided straw, resin, clay, fabric, acrylic paint, beads and wood
Mar Amor, 2025
Strings, necklace beads, resin, wood
Maria Nepomuceno, Untitled, 2013, Nylon, jute ropes; monofilament; plastic, glass, metal beads; unglazed ceramic structure; perforated bricks; plastic. On display: Museum of Fine Arts, Boston
Maria Nepomuceno, Untitled , 2016, Ceramic, ropes, beads, cabaça, fiberglass and resin, 27 3/5 × 19 7/10 × 11 4/5 inches. Offered by Victoria Miro, London
Maria Nepomuceno, Matando a fome, 2016, Beads, clay, ceramic, ropes, acrylic, fiberglass, resin, 23 3/5 × 66 9/10 × 66 9/10 inches. Offered by Baró Galeria, São Paulo
Maria Nepomuceno, Untitled, 2015, Corrugated paper, Canson paper, acrylic, oil pastel, bricks, beads, ropes, wood, glass 39 2/5 × 53 1/10 × 5 9/10 inches. Offered by Baró Galeria, São Paulo
Maria Nepomuceno, Untitled, 2014, Pottery, fiberglass, beads, paint, porcelain and wood brush, 51 1/5 × 74 4/5 × 31 1/2 inches. Offered by A Gentil Carioca, Rio de Janeiro
Maria Nepomuceno Untitled, 2010 Ropes, beads and fabric