Juliana Cerqueira Leite's installation "V" features an earthy, textured sculpture with sweeping, organic forms and a monochrome palette that highlights its physicality. The piece represents the negative space of her gestures imprinted in clay, emphasizing the relationship between body and material. Utilizing a unique process where she excavates her movement-marked clay casts, Leite creates a dialogue about the occupation of space and the effect of gravity. This work underscores her exploration of physicality and the dynamic interplay between human agency and the surrounding environment. ...
Juliana Cerquiera Leite's sculptural and photographic work explores notions of physicality, agency and interactions with the physical world. In Leite's practice, the clay-filled mould or box is a recurring tool. The artist refers to it as a dense camera: the box is filled with wet clay, which is then imprinted with the artist's gestures and movements, forming a negative space that is then worked into sculptures after being excavated from the box. Standing in front of her heavy sculptures, one could feel a strong feeling around the question of matter and the occupation of space and gravity. ...
LODO Gallery is a contemporary art space dedicated to exploring the dynamic relationship between emptiness and materiality. Founded on the belief that the void is not a lack, but a fertile ground for meaning and creation, the gallery showcases works across a range of media—including painting, sculpture, installation, photography, and video.
Its curatorial approach emphasizes conceptual depth and visual resonance, offering exhibitions that invite reflection on contrast, presence, and transformation. The name LODO, meaning “mud” in Spanish, symbolizes the gallery’s core philosophy: like mud—a blend of earth and water—the void is a generative matrix where form and thought take shape.
Located at the intersection of absence and expression, LODO Gallery fosters a space where artistic practices can unfold with freedom, nuance, and integrity. ...
