Portfolio

After working with images collected in the Overseas Historical Archive in 2023, I began to investigate colonial iconography and its persistence more closely. One aspect that particularly caught my attention was the way the collection was accessed: the images could only be requested through their descriptions, which reminded me directly of the logic of the prompts currently used in artificial intelligence tools. I noticed there an analogy between the production process of colonial engravings — often created by artists based on descriptions, without direct contact with the territories depicted — and contemporary methods of generating images by AI.
Choreographies of the Cross (2024), starts from counter-hegemonic descriptions — which conjure up other possible narratives for the episode of the First Mass in Brazil — to generate images through AI, challenging the imaginary fixed by colonial and religious tradition.