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MILLA OLIVEIRA

There is a history I feel, but I don`t remember. I paint to stir those memories, to instigate them, and to give them form. My process often begins with gestural impulses. Like entering a sacred circle of dance in Brazil, the first gesture asks for permission. As in dance, my body is connected to movement that is historical, but in the moment of expression, that history is mine. Often, my mark-making takes the form of text or words. I wonder what is behind words, and where the impulse for language comes from

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MILLA OLIVEIRA | millaoliveira.com Reviews
<META>
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There is a history I feel, but I don`t remember. I paint to stir those memories, to instigate them, and to give them form. My process often begins with gestural impulses. Like entering a sacred circle of dance in Brazil, the first gesture asks for permission. As in dance, my body is connected to movement that is historical, but in the moment of expression, that history is mine. Often, my mark-making takes the form of text or words. I wonder what is behind words, and where the impulse for language comes from
<META>
KEYWORDS
1 painting
2 na bagunça
3 people
4 3d drawings
5 creative mentorship
6 menu
7 milla oliveira
8 acrylic on paper
9 strange fruit
10 night harvest
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painting,na bagunça,people,3d drawings,creative mentorship,menu,milla oliveira,acrylic on paper,strange fruit,night harvest,total obviousness,creamy,prev,next,middot;,show thumbnails
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MILLA OLIVEIRA | millaoliveira.com Reviews

https://millaoliveira.com

There is a history I feel, but I don`t remember. I paint to stir those memories, to instigate them, and to give them form. My process often begins with gestural impulses. Like entering a sacred circle of dance in Brazil, the first gesture asks for permission. As in dance, my body is connected to movement that is historical, but in the moment of expression, that history is mine. Often, my mark-making takes the form of text or words. I wonder what is behind words, and where the impulse for language comes from

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