That same sensitivity extends to the earth itself — a connection that started in
her childhood at her grandfather’s clay workshop. Rediscovered later through
the writings of Euclides da Cunha, earth in her work is both “witness and
resistance.” The cracks across her canvases are never just decorative. They are
spaces left open for the viewer’s interpretation. As she often notes, echoing
Barthes, every crack could be “a scar, a map, or something only the other can
name” — a refusal to impose a single meaning.