Juliana Lapa and the Surface Where Memory Takes Root
Origins
Juliana Lapa's work moves between drawing and painting as if the surface were a site of excavation. Born in Carpina, Pernambuco, in 1985, she builds images where individual memory, collective memory, dream, politics, and rural life are not separated into neat categories. Galeria Marco Zero describes a practice shaped by graphite, colored pencil, massa corrida, egg tempera, and acrylic paint, with procedures of erasure, veiling, carving, and the revelation of layered surfaces. That technical description matters because Lapa's images feel less painted onto a support than slowly uncovered from it. Paper and wood become places where buried stories, bodies, landscapes, and symbols press upward. See also Cordel Does Not Fit in Drawers: Marina Nabuco on the Living Archive of Instituto Brincante.
The four works gathered here make that process visible through arched formats, scratched textures, and figures that seem caught inside rivers, roots, nerves, and weather. In the earth-toned composition with two reclining bodies, pale blue streams move through the scene like water, milk, memory, or breath, binding the figures to a larger vegetal and ancestral form. In the red work, bodies appear almost flayed into movement, their limbs and ribbons of paint crossing a landscape that looks wounded, mythical, and alive. Lapa's figures rarely sit outside the world they inhabit. They are threaded through it, as if the terrain itself were thinking through them. See also Isabela Stampanoni and the Cartography of Rhythm.
Public collections
Her work also carries a narrative density that resists simple illustration. Galeria Marco Zero notes that Lapa often scrutinizes real or imaginary events through a meditative attention to detail, sometimes drawing from biographical reminiscence in order to glimpse the collective histories surrounding women's existence and labor in the countryside. At other moments, the images open into dreams and enigmatic symbols of nature. That double movement appears in the warm ochre work where a reclining figure dissolves into strata, watercourses, and small distant figures, and in the yellow arched work where a star-like form becomes at once plant, body, shelter, constellation, and apparition. The surface behaves like a wall, a field, and a memory chamber.
For CASCA, Lapa is important because her paintings and drawings connect the interior life of fabulation to histories of land, labor, and female experience in Pernambuco. Her series include Breu, Sorte Saude e Felicidade, Fabulacao, and Outros esquemas do corpo, all linked by procedures of covering, erasing, incising, and modeling the image. After expeditions to the Amazon and contact with forest and rural communities, she turned more fully toward artistic production, and her expedition notebooks continue to serve as tools for remembering lived situations. Her work is held in institutional collections including the Pinacoteca de Sao Paulo, Banco do Nordeste, REC Cultural, and the Museu de Belas Artes do Rio de Janeiro. In the selected works, Lapa gives memory a body and landscape a nervous system, making each image a place where personal recollection and collective history keep changing shape.
