The clay with which Lorena D’Arc works is restless, carrying an ancestral materiality that permeates both the modeling and firing processes and its symbolic expression over time. Lorena’s restless clay does not settle on one type of clay or firing; it is white, red or black, fired at low, high or simply raw fires. This restlessness transgresses the commonplace of utilitarianism, where teapot spouts multiply among shapes that resemble breasts. Skins, leather and guts are sometimes woven into the ceramic body, providing new formal, aesthetic and conceptual relationships.

Drawing from her experiences and challenges as a ceramic’s teacher, multidisciplinary artist, and university administrator, she creates new perspectives to constantly reinvent herself.

Lorena’s research raises relationships between ancestral and contemporary archetypes, recurring to natural elements, the feminine universe, domestic daily life, rituals and the principles of life and death. She explores the characteristics and behaviors of materials that carry the ambiguity of being, at the same time, raw material and symbol, in dialogue with themes related to ancestry, ecofeminism, affectivity and decoloniality.

Solo exhibitions: 2019 – Spilled Milk at Palace of Arts, BH, BR; 2018 – Between the Clay and the Milk at Gallery of the Institute of Arts-UNESP, SP, BR; 2013 – Those who can’t handle the pot don’t touch the wheel, at Museum of Inconfidencia, Ouro Preto, MG and Copasa Art Gallery, BH, BR; 2011 –The Poetics of the Pot at MAC Ibirapuera, São Paulo, BR; 2007 – Unutility at Espaço Cultural Lafayette, BH, BR; 1999 – Some Measure in Time at Palace of Arts, BH, BR; 1998 – Petal at UFMG Cultural Center, BH, BR. Awards 2019- APPA Award; 2010- The 2nd Shanghai International Modern Pot Art Biennial Exhibition, Shanghai, China. 2008-Honorable Mention at the 2nd National Ceramics Salon in Curitiba, Brazil