ISABEAB

Since I was born, the process began. We live our whole life so that a picture is possible.

For these things to be painted, I've lived my whole life, and then, the moment it happens, is the moment it was supposed to happen.

It took me to live through all the love disappointments, all the foods I ate, all the trips I took, for me to be able to think about it today. If I had never lived through it all, I would never have been able to think about it.

So there's the picture, there's this whole life that was lived so that it could happen.

And then, when I start, when I put the paint on the brush, I already feel that it, the idea, is dying. Not this death that we weigh and that is seen as very bad. There is the missing point, perhaps, which is what I feel about the screen when it's over. It's over, it's not mine anymore.

When it's in my head, the idea lives in me. By the time she's out there, she's no longer mine, it's as if I feel this grief for losing the thing that was inside of me before.

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Articles:

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An artist from Campo Grande spoke about art being used as an instrument of struggle, as well as the anguish caused by the pandemic and the neglect of nature

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Isabê and the anguish of an art “stuck” in the pandemic - Affected by the pandemic soon after creating her studio, Isabê used the context as the engine of her art.

"Since I was born, the process began."

"We live our entire life so that a painting is possible. For these things to be painted, I've lived my entire life, and then, the moment it happens, is the moment it was supposed to happen.

It took me to live through all the love disappointments, all the foods I ate, all the trips I took, for me to be able to think about it today. If I had never lived through it all, I would never have been able to think about it."

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