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and compositional structures are others. Transsexual, black, Lia used showing, for example, that black people
very similar, for example, to paintings prostitution as a “dialogue tool”. can also be inside a museum, or reading
of ex-votos. Sacred art itself was also “As a transgender woman, it would be on a sofa, in a room that also has works
a theme for our artist, and he tells in very difficult to call for interviews with of art. In order to generate empathy,
a statement that he would only have these men. I ended up using what is af er all, they, the blacks, also go to
started painting af er realizing that the given to us on a compulsory basis, which exhibitions, they also read”.
images he saw in churches “were made is prostitution”, she says. “So, at first, Once the narratives materialized, the
by the hands of people”. they came to me through prostitution. works were then signed by the boys
In a second moment, the theme They paid me for the first, second and themselves, of en with their own names.
does not lose its importance, but Silva third dates. From the fourth, I said that, In some of them, the young people also
reduces the pictorial elements to dots, instead of paying me in money, they selected and wrote excerpts from the
brush strokes or serialized spots, in could pay me with information, for us books read at the meetings. Like Apolo,
order to create extremely dynamic to build a decolonial narrative in which who placed the phrase “he who is
compositions. This procedure is very I question what racist relationships are worthy of being loved ” in the painting
similar to moments of geometric like for these young people”. that portrayed him , the title of a book
abstraction (although it never The artist says that, of the nearly 700 by the Moroccan writer Abdellah Taïa.
completely abandoned figuration) and men who passed through her house To talk about the violence to the body
even received praise from one of the over the years, she reached a group represented by hormone therapy, Lia
main representatives of concretism, of 50 who accepted her proposal. She resorted to still lifes. She painted vases
Waldemar Cordeiro. These pictorial cites, as an example, a boy named of flowers, on a white fabric, with a black
choices led to Silva breaking up with Johnny, whom she identified as a background. In this series, A crossing
Gomes Machado, but coincided with racist, and with whom she read Angela of the Rubicon , Lia makes a sequence
his rapprochement with the critic Theon Davis, in the intervals between sex, “so of flowers, which bloom and culminate
Spanudis, a defender of a very particular that he could recognize himself as a in a bouquet, arranged in a “corner” of
constructive art. white aggressor”. As in all programs, the gallery, “because it is in the corners
Although read as a naïve out of his Lia took notes, recorded and later that we, trans women, collectively talk
time, Silva perfectly understood not transcribed some conversations, which about therapy”, it says.
only his time and the trends discussed later served as the basis for lectures There are also self-portraits, in which
therein, but also brought an absolutely given by her. Advice on preventing and Lia paints her genitals or part of her
original contribution to it. combating racism and transphobia in chest. And naked torsos, in which the
the job market, for companies such as adhesive tape, a recurring material
artist lia d castro [pages 50 to 55] streaming platforms. in her creations, serves as a T-shirt,
“This was the first moment of the with which she finishes undressing.
PRACTICAL ARTS project, in 2017, when I was invited by The artist explains that the material

The paintings, drawings and photographs Amazon, later by hbo, Amazon, Netflix, symbolizes “something that protects
of Lia D Castro are the synthesis of a the Goethe Institute and some Sesc what was once hurt, and is already
decolonial process in which she equates, units, to provide this assistance”, undergoing repair”.
with her portrayed, sex, readings,
conversations and reflections on explains the artist. “Af er two or three Within the series Your children also
transphobia and racism years, I asked them how they would practice , Lia brings a work that she
like to materialize those discussions considers romantic, Residue from
by eduardo simões and be portrayed to the world, with the previous night , done with young
what colors and paints, because they Bruno, with whom she decided to try
art for lia d castro is practical and knew she was an artist. They also had another support: a sheet, still with
technical, she points out, at all times, the right to choose the final result, the traces of sex between the two.
in her conversation with art!brasileiros. eliminating, for example, photographs The series O triptych of self-portrait
In her creations, she works with oil on they didn’t like”. , in which few accepted to participate,
canvas, woodcut, charcoal, dry pastel From there came the series presented brings another experiment: in a box,
chalk, pen and even adhesive plaster. in A complicity reflected : with young polaroids of the boys – who initially
Art, for Lia, is also a process. In the whites, Their children also practice; with photographed the penis, but later
exhibition A complicity reflected , which the blacks , Axs our sons . The project started to record a foot, the chest, a
Galeria Jaqueline Martins presented also produced the series Across the hand – are flanked by condoms used
until March 18 – and which will soon Rubicon , about hormone therapy for in the relationship. In the portraits,
move to its branch in Brussels (Belgium) their transition and about 800 other there are also the books that the young
– the artist showed paintings and transsexual women, the vast majority people had chosen to discuss.
photographs made over seven years, of whom were prostitutes, with whom
in paid sex programs , with cisgender, he also talked about those topics over trajectory
heterosexual, black and white men, the same period. Born in 1978, in Martinópolis (sp), Lia
aged 18 to 25 years. With Davi, present in the series Axs lived until she was 20 on farms in the
In these meetings, the artist discussed nossxs sons , Lia says that she talked a interior of São Paulo and other states,
transphobia and racism, based on the lot about the idea of building affection because her father worked as a self-
reading of authors such as Angela Davis, within an exhibition space – like the taught agronomist, according to her.
Chinua Achebe, Achille Mbembe, Toni gallery itself that exhibited her work. Lia worked in the fields, milked cows,
Morrison and Lélia Gonzalez, among “We were creating new narratives, finished high school.
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