In the vast, silent face of the Amazon crisis, artist Adriana Chamma refuses literal
denunciation and dives deep into ancestral strength. Her new and powerful ceramic
sculpture, The Cry of Rebirth, is a piece that emerges like a living organism—a silent scream
against the amnesia of fallen trees.
The sculpture unfolds in a symbiotic encounter, an organic fusion of human and plant,
where the forms are both “roots reaching to nourish and tentacles yearning to explore.” At
the heart of this visual narrative, the artist brings to life two guardians of our time: Kairós,
emerging from uprooted roots, symbolizes the chance for a new beginning that springs
from the very scar. Ananke, crowned with branches, embodies the unstoppable force of life
and the memory that cannot be erased. Together, they remind us that the fate of the Earth
is inseparable from our own.
This conceptual depth is a hallmark of an artist trained to merge aesthetics with
functionality. Adriana is a designer and ceramicist from São Paulo. After earning her degree
in Industrial Design from FAAP, she went on to study art and fashion at Central Saint Martins
in London. In 2025, she participated in Milan Design Week with her creations. Whether
crafting lighting inspired by the abyssal zone or creating utilitarian pieces, Adriana’s work is
born of listening, intention, and emotional resonance. Her ceramics aren’t just objects—
they’re responses. Presence. Gesture.
Ceramics as Genesis
Adriana Chamma
The choice of ceramics as the vehicle for this genesis is no
accident. Clay—the "primordial matter"—is the only material
capable of telling this story. The glaze, in earthy and green tones,
connects the sculpture directly to the skin of the forest.
It’s the physical embodiment of the question the artwork itself
poses: Where does the body end and the landscape begin?