It is a contemporary treatment that, with tranquility wisdom, associates the minimalist logic of discrete elements with a deliberately mimetic morphology. And that, ignoring hierarchies, consents from a free rereading of the Maestá de Duccio, of the fourteenth century, rereading, so to speak, decompositional. Ronaldo Brito The artist proceeds, for example, to reinterpret Duccio’s Maestà, retrieves its primitive aesthetical emotion by leaving only the skeleton and then reconstruct it as an alabaster with gold foils relief. This translation of the morphological continuous into the discontinuous language of discreet elements is typical of her work, almost her registered mark; in truth, it is the principal reason for her works’ increasing mobility. The cascading Coins are the origin of these circles relating the Maestà’s biblical narrative according to an unorthodox minimalist grammar. What the Renaissance composition portended, in the beginnings of perspective, transforms into a casual sequence close to the famous minimalist maxim – one thing after another. Ronaldo Brito

Maestà, 2006
Alabaster and gold

Maestà, 2016
Simon Studer Art

Maestà, 2006
Paço Imperial, Rio de Janeiro

Simon nº819, 2007
Alabaster and gold

Angel Nº892, 2008
Alabaster and gold

Angels nº893, 2008
Alabaster and gold

Angel Nº894, 2008
Alabaster and Gold