Rafaela

The artworks selected for this exhibition reflect my personal exploration of identity in its various forms, specifically my own dual English-Brazilian heritage. In my work, I investigate the power of language and myths through both the term’s definitions – as found in the Cambridge dictionary – ‘an ancient story or set of stories, especially explaining the early history of a group of people or about natural event and facts’ and as ‘a commonly believed but false idea', investigating how these aspects shape one’s sense of self and belonging. By juxtaposing these two meanings, I examine how myths – whether they are inherited cultural stories or constructed societal ideals- inform and construct individual identities. The use of idioms, such as "Chew you up and spit you out” or “Quem não tem cão, Caça com gato” highlights how language can both connect and divide, each chosen idiom working as a metaphor for the cultural standards which they can be visualised to represent. These cultural explorations are particularly prominent in works like “Chew You Up and Spit You Out”, where I satirise the exploitation of cultures through cannibalism, while in pieces like “Glow Up” and “Holier Than Thou” explore societal pressures placed on women, critiquing ideals of beauty, purity and conformity. As such, the body of work functions as both a reflection upon my own multicultural background and to question the rigid constructs of identity, particularly those in relation to nationality, heritage and belonging.

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The visual impact of the exhibition relies on contrasts: playful colours clashing with grotesque imagery or connotations, rough texture against fluid lines, European artforms to depict Latin-American visuals. An important aspect of my work is the exploration of patterns, both structured and unstructured, which I have enjoyed playing with throughout the exhibition. I find patterns - whether they are geometric, like checkered designs, or organic, like the floral motifs in my tapestry “Quem não tem cão, Caça com gato” and in “Hell hath no fury (like Medea scorned)”, - to be effective in drawing the audience’s attention and subverting their expectations. Structured patterns, such as the checkered pattern found in multiple works are utilised in tandem with bright colours, their rigidity put off balance by the hectic colours, mirroring the rigid ideals I intend to challenge in my works, best seen in “Chew You Up and Spit You Out” where the cookbooks form a checker pattern in the background. On the other hand, unstructured patterns, such as the flowers in “Quem não tem cão, Caça com gato” which are structured to be vibrant and wild, reflecting the cultural vibrancy seen not only in a split nationality, but in every aspect of an identity. Overall, the works are not intended to only look into my own personal identity, but to provoke reflection from the audience as I question, What is identity? And How does identity shape the world beyond the individual?

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Through this curation of works, I hope to engage the viewer in a conversation about the complex relationship between language and culture and identity. I encourage my audience to reflect on how myths – both as ancient stories and cultural concepts – shape our understanding of the world and ourselves, by highlighting the fluidity of identity I emphasise how it is not fixed, but rather an amalgamation of both internal and external experiences. These works prompt a broader reflection on the ways in which individuals negotiate their place within cultural frameworks, and how language and myth help or hinder this process. I want the audience to consider how their own identities—whether shaped by language, heritage, or cultural narratives—are influenced by and in dialogue with those around them. Ultimately, I hope my exhibition encourages viewers to engage with the idea that identity is always shifting, always under construction, and identify the places where it influences not only ourselves, but the world around us whether through our perceptions or through our collective actions. These works were selected not only for their personal significance but for their universal relevance to contemporary discussions of identity, culture, and belonging.