Ana Flávia de Oliveira Garcia. Alegrete, Brazil. 1997.
Bachelor of Fine Arts from the Arts Institute of Federal University of Rio Grande do Sul (Brazil), has also studied at University of Porto (Portugal). Her work focuses on non-figurative painting, drawing and ceramic sculpture. With academic experience in the areas of Visual Arts, Art Mediation, Art History and Cinema; professional experience in directing, producing and directing art in advertisement and art films. Has participated in collective and solo exhibits in Brazil and Portugal; her artworks are present in private collections in over five countries.
Ana Flávia Garcia (b. 1997, Alegrete, RS, Brazil) is a visual artist, painter, and painting teacher. She lives and works in Porto Alegre, Brazil. She holds a degree in Visual Arts from the Institute of Arts at the Federal University of Rio Grande do Sul (UFRGS), where she is currently pursuing a master’s degree in Visual Poetics. During her studies, she also attended the Faculty of Fine Arts at the University of Porto, in Portugal.
Painting is the central axis of her practice. Between 2018 and 2024, her work developed predominantly within the field of abstraction, exploring relationships between gesture, matter, and color in large-scale paintings. During this period, her work investigated the construction of the image through successive layers, overlays, and glazes, in which the energy of the gesture was articulated with the density and transparency of paint.
In her recent works, developed within the context of her master’s research, the artist investigates the construction of atmospheres and pictorial spaces based on architectural elements found in paintings from the late Middle Ages and the early Renaissance. By removing the figures from these references, arches, walls, floors, columns, doors, and passageways begin to organize empty scenes, marked by a sense of temporal suspension and estrangement.
These images are reworked through digital chromatic interventions and later translated into painting, in a process that highlights the frictions between the color-light of the digital image and the color-pigment of the canvas. The research brings the spatial instability of these historical references closer to modern questions in painting, such as flatness, the autonomy of the surface, and the use of color as a constructive element.
Her work dialogues with different moments in the history of painting, as well as with references from architecture and cinema, including Fra Angelico, Giotto, Sassetta, Matthias Weischer, Albert Oehlen, and David Lynch.
She has participated in group exhibitions and publications in Brazil and abroad. Her paintings are part of private collections in the United States, England, Cyprus, Portugal, Spain, France, and Brazil.
