A Boat Made to Sink

Research that began with Topografias da maré soterrada [Topographies of the buried tide] — fifteen iron sculptures and three canvases shown at the 31st Exhibition Programme of Centro Cultural São Paulo (2021–2022) — looking at the Itapagipe Peninsula in Salvador’s Cidade Baixa: a basin of the Tainheiros inlet where the city’s first industrial hub was built, later a landfill, where residents still live among stilt houses and floods at every rain.

“By diving into the territory where I was born and raised, I have tried to listen to the tide and the land in order to create, through the meeting of body, memory, ancestry and materials, topographies, surfaces and cracks.” — Rebeca Carapiá

From the same period is Campo elétrico 01: raiva, sal, saúde e tempo [Electric field 01: anger, salt, health and time], solid copper bars on iron bases shown at the 3rd Frestas Triennial, Sesc Sorocaba (2021), and later in Direito à forma at Inhotim (2023).