BIOGRAPHY

Maria Auxiliadora [Maria Auxiliadora Silva]

1935, Campo Belo | MG - Brazil

1974, São Paulo | SP - Brazil

Maria Auxiliadora moved with her parents and siblings to the city of São Paulo, and stopped studying when she was 12 years old to help the family, working as a domestic servant and embroiderer. Her mother, Maria Almeida Silva (1912), also produced very interesting wooden sculptures in African style when interviewed her in 1972, and played a clearly matriarchal role in the family. Eight of her children, at the time, carved, painted or wrote poetry. The father, José Cândido da Silva, retired civil servant, had a gift for music and played the 8-bass accordion. When she was fourteen, Maria Auxiliadora began drawing with charcoal. She soon moved on to gouache and only when she was 26 years old did she try oils. Maria Auxiliadora herself, in deposition to Mitopoética de nove artistas brasileiros (1975), where I wrote the first essay about her work, defined her technical career: “My first oils in 1968 were flat, with no relief. But at the end of that year I had already begun doing relief with hair. First using the oil to fix it because at that time I didn’t even know about Wanda’s mass. I’d get very think paint and imprint the hair, very often my own, because very often I’d paint Creoles. I had this idea when I was painting a large picture of candomblé in 1968”.

Maria Auxiliadora also at that time spoke about the construction of the hybrid work between painting and high relief that characterized her visual expression, in which many saw a leaning towards pop art. In late 1960s and in the 1970s, she very often used to written dialogues leaving the mouths of the characters, like in comic strips. When she began using plastic mass, the undulation of the canvas was even more accentuated. The pronounced relief of the female genital organs, besides obviously underscoring the portrayal of sexuality, reminds us of rare but existing iconographies of orishas, Yemanjá, for example, who suggest fertility. This association is made by the social context shown by Maria Auxiliadora’s urban painting. The religious themes are represented in her work with as much intensity and frequency as the amorous themes, which described her being in the world through a great erotic vibration. Auxiliadora was born in Minas Gerais, moved to São Paulo when she was three, and has kept the nostalgic memory of life in the countryside, certainly kept alive by her mother’s accounts, and which he also portrayed frequently. However, the themes of candomblé, a caboclo’s house, fantastic scenes of dances, festivals, carnivals, loves and possession of orishas will be what comes most spontaneously to the eroded, volcanic surface of her painting. Maria Auxiliadora’s art also has an extremely interesting autobiographical soundtrack: she paints herself among relatives, at parties, as a painter before the easel surrounded by inspiring angels. Or in tears, from that hard time when she was told that she had an incurable disease, which caused her death before she was 40.

Source: Little Dictionary of the Brazilian People’s Art – 20th Century, by anthropologist and poet Lélia Coelho Frota

CV

Collective Exhibitions:


2020 Women in Popular Art, Galeria Estação, São Paulo, SP, Brazil


2016 Childhood Stories, MASP, São Paulo, SP, Brazil


2015 Acervo em Transformação, MASP, São Paulo, SP, Brazil


2009 Brasil Brasileiro, Banco do Brasil Cultural Center, São Paulo, SP, Brazil


2005 The Pleasure is ours, Galeria Brasiliana, São Paulo, SP, Brazil


2002 Pop Brasil: Popular Art and the Popular in the Art, Banco do Brasil Cultural Center, São Paulo, SP, Brazil


2000 Naif Art, Jacques Ardies Gallery, São Paulo, SP, Brazil


2001 Naif Art, Jacques Ardies Gallery, São Paulo, SP, Brazil


1994 Great Exhibition of Brazilian Naive Art, São Paulo, SP, Brazil


1980 Images of Dance, Paço da Artes, São Paulo, SP, Brazil


1980 Earth People, Paço da Artes, São Paulo, SP, Brazil


1975 Festa de Cores, Museum of Art of São Paulo, São Paulo, SP, Brazil


1973 6º Contemporary Art Salon of Santo André, Paço Municipal, Santo André, SP, Brazil


1972 5º Contemporary Art Salon of Santo André, Paço Municipal, Santo André, SP, Brazil


1971 4º Contemporary Art Salon of Santo André, Paço Municipal, Santo André, SP, Brazil


1970 6º Campinas Contemporary Art Salon, José Pancetti Museum of Contemporary Art, Campinas, SP, Brazil


1970 3º Contemporary Art Salon of Santo André, Paço Municipal, Santo André, SP, Brazil


1969 Salão Paranaense, Federation of Industries of the State of Paraná, Curitiba, PR, Brazil


1969 2º Contemporary Art Salon of Santo André, Paço Municipal, Santo André, SP, Brazil


1968 1º Contemporary Art Salon of Santo André, Paço Municipal, Santo André, SP, Brazil


 


Selected Publications:


2020 Women in Popular Art, Vilma Eid and Fernanda Pitta, Galeria Estação, São Paulo, SP, Brazil


2015 Concrete and crystal: the MASP collection on easels by Lina Bo Bardi / organization by Adriano Pedrosa, Luiza Proença. 1st edition,Rio de Janeiro: Cobogó, São Paulo, MASP

EXHIBITIONS

encerrado
são paulo

Women in Folk Art

09.03.2020 - 09.05.2020
encerrado

SP Arte 2015

09.04.2015 - 12.04.2015

VIDEOS

Women in Folk Art
Women in Folk Art Exhibit...
Documentary