Juliana Cerqueira Leite

Juliana Cerqueira Leite (1981) is a Brazilian artist based in New York, she is interested in the parameters of the body and the space that it creates; her large-scale, tactile sculptures investigate the abilities and constraints of the human body. “Creating new forms is a mission for me,” said Cerqueira Leite, “a way of not reasserting the world as it is, but of positing a transformation”. The artist’s sculptures testify to one’s ability to transmute the world around them. Using her own body as a primary tool, Cerqueira Leite digs, combs, scratches, and pushes through her materials —which include clay, latex and plaster— to create organic forms. Her sculptures retain impressions of the artist’s legs, arms and fingers and often resemble skin, bone and similarly corporeal matter. Explaining her use of materials, Cerqueira Leite has said: “One of the reasons I use so much density of material is that I want to upset the status quo: the idea that matter is consistently subservient to our desires. I want to put myself in a position where matter is in just as much control as I am”.

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Selected works

Climb

2012
Forton mg, Urethane foam
366 × 61 × 56 cm (144 332 × 24 132 × 22 116 inches)

Anthropometry

2019
Aquaresin, aluminium, glass fiber, steel, pigment, clay
140 × 45 × 100 cm (55 18 × 17 2332 × 39 38 inches)

Curl 2

2014
Plaster, fabric, fiberglass, steel
68 × 58 × 48 cm (26 2532 × 22 2732 × 18 2932 inches)

Blind Spot 2

2015
Aquaresin, steel, aluminum, glass fiber, pigment
203.4 × 203.4 × 213.36 cm (80 332 × 80 332 × 84 inches)

Calcify

2019
Aquaresin, hydrocal, steel, glass, limestone sand, glass fiber, pigment, clay
140 × 45 × 100 cm (55 18 × 17 2332 × 39 38 inches)

Urn 9

2022
Dental plaster, fiber glass, aluminum, steel, pigment, glass base, live plants and organic substrate
90 × 90 × 50 cm (35 716 × 35 716 × 19 1116 inches)

“We don’t know what is happening because there is no leader...and it was very dangerous...they need a lot more help...he tried to hold his bow and then they shot him...and beat us...there is the possibility that someone will say you asked for it.”

2017
Acrystal Prima, steel, pigment, glass fiber
142 × 71 × 71 cm (55 2932 × 27 1516 × 27 1516 inches)

Contraction 1

2019
Plaster, steel and burlap
170 × 40 × 40 cm (66 1516 × 15 34 × 15 34 inches)

SOFT BODY 3

2021
Dental plaster, glass fiber, aluminium, steel and pigment
189.5 × 65.5 × 30 cm (74 58 × 25 2532 × 11 1316 inches)

ON SHIPLESS OCEAN

2021
Aquaresin, steel, aluminium, glassfiber, pigment, clay residue
122 × 91.5 × 53 cm (48 132 × 36 132 × 20 78 inches)

Head 4

2020
Aquaresin, glass fiber, pigment
16 × 16 × 16 cm (6 516 × 6 516 × 6 516 inches)

Urn 3

2018
Hydrocal, FGR-95, glass fiber, steel, burlap, clay, pigment
157.5 × 68.5 × 40.6 cm (62 × 26 3132 × 15 3132 inches)

Amphorae

2013

Spread

2021
Graphite and colored Luminance pencil on paper
83 × 63 × 16 cm (32 1116 × 24 1316 × 6 516 inches)

Scrub A

2021
Graphite and colored Luminance pencil on paper
83 × 63 × 16 cm (32 1116 × 24 1316 × 6 516 inches)

Exhibitions

Estar a la lluna

Fonteta
Aug 07 - Sep 26, 2021

We’re delighted to present the second chapter of the joint project by Bombon, Galeria Joan Prats and NoguerasBlanchard, taking place in Fonteta, a small village in the Empordà region from June to September.

The exhibition, conceived in two chapters, brings together artists from three different generations. The proposal begins with a concept from the Empordà Parar la fresca (to take in fresh air) described by Josep Pla in the book Las Horas (The Hours), 1953.

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The Swamp of Forever. Chapter 4: Origin

Madrid
Feb 06 - Apr 10, 2021

Curated by Carlos Fernández-Pello.

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The Swamp of Forever. Chapter 1: Love

Barcelona
Oct 10 - Dec 13, 2019

Curated by Carlos Fernández-Pello.

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