Amanda Nunes and the Altar of the Profane Body

Origins

Amanda Nunes builds a painting practice where faith, critique, and ancestry become inseparable. Raised between Ceilândia, the Ceará, and the intense discipline of Christian missionary life, she turns religious memory into material for visual invention rather than obedience. Her work is marked by the tension named in ISMO's interview: between the sacred and the profane, between the altar and the body that institutions have tried to discipline. Nunes does not simply reject the religious world that formed her. She reworks it, taking from popular Catholicism, Afro-diasporic spirituality, tarot, dream logic, and everyday survival a language of symbols that can hold both wound and miracle. The paintings feel devotional, but their devotion is directed toward freedom. They make belief answer to lived experience and to memory. See also Cordel Does Not Fit in Drawers: Marina Nabuco on the Living Archive of Instituto Brincante.

The works gathered from the page show a painter deeply committed to symbolic density. Titles such as "Lázaro," "Coroação de Maria," "O Diabo," "A Imperatriz," and "Mistério do Planeta" reveal her interest in archetype, apparition, and threshold. Grey bodies recur throughout the images, often surrounded by flowers, portals, suns, moons, water, animals, flames, domestic abundance, or devotional gestures. That grey is not neutral. In the interview, Nunes connects it to the experience of living in an ethnic borderland, a racial limbo that refuses easy classification. Her figures therefore feel less like portraits than entities: presences shaped by memory, belief, contradiction, and self-protection. See also Arivânio Alves and the Animals That Remember.

Practice and materials

What makes Nunes's work especially powerful is the way it sacralizes what dominant religious language has often treated as profane. The nude body, the peripheral home, the full supermarket cart, the table, the street, the wound, the desire to survive: all can become sacred ground. Her paintings draw from naive, popular, sacred, and surrealist vocabularies, yet they do not settle into folklore. They are too psychologically charged for that. Each image operates like a small cosmology, where objects function as signs and signs carry emotional consequence. The result is a visual system that is intimate, theatrical, and political at once. See also Alice Dote and the Intimate Politics of Looking.

Nunes began painting in 2019 and quickly used the internet as a way to build visibility outside traditional access routes. Her trajectory also expanded into large-format works and urban contexts, including "Terra para quem nela vive e trabalha" and "Desbravar," while remaining rooted in the same symbolic grammar. For CASCA, Amanda Nunes matters because she gives form to a Black, peripheral, Afro-Latin, and post-religious imagination without flattening any of those terms. Her paintings turn personal rupture into shared iconography. They ask who is allowed to have faith, who is allowed to be image, and what forms of beauty become possible when the profane body builds its own altar. In her hands, painting becomes a chapel for contradiction, tenderness, revolt, and return. It keeps the altar open. See also Blecaute and the Radiance of Black Celebration.