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Sonia Gomes, although new to exhibiting her work outdoors, has a longstanding history of integrating the natural world into her artistry. “Her connection to the land has become particularly prominent with this specific project,” notes Ossei-Mensah. In her practice, wood has been transformed into more than just a material; it acts as a canvas for her vibrant paintings and intricate sewing.
Gomes has always been intrigued by the patterns evident in nature, particularly the Fibonacci sequence, which influences her work. This fascination is reflected in her choice of 13 pendants for the installation at Storm King and 34 for a stunning display at São Paulo’s Pinacoteca museum, which I had the privilege to see in 2023.
For Gomes, the notion of displaying her work outdoors seems not only fitting but also long overdue. As Lawrence articulates, “One cannot place artwork in this setting without acknowledging its connection to the environment—the trees, the greenery, and the sky.”
Sonia Gomes, Untitled, from Raiz series, 2017. Courtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York.
Sonia Gomes, Untitled, 2017. Courtesy of the artist and Mendes Wood DM, São Paulo, Brussels, Paris, New York.
Born in 1948 in Caetanopolis, Minas Gerais—a region previously known for its textile industry—Gomes experienced a challenging early life. She was raised by her father’s family after her mother’s passing when she was just three years old. While this environment was more affluent, Gomes has expressed feeling a lack of affection and a disconnection from her African heritage. In this backdrop, her early experimentation with clothing became a crucial form of self-exploration and expression.
Initially pursuing law school to appease her societal expectations, Gomes never abandoned her artistic inclinations. However, by her 40s, she found herself fatigued by balancing her legal career with her creative passions. This led her to enroll in classes at the Guignard University of Art in Belo Horizonte, where she rediscovered her sense of freedom and creativity. “For the first time, I was able to create whatever I wanted,” Gomes states. It was also during this period that she embraced the identity of an artist—something she had previously believed was reserved for those skilled in traditional drawing techniques.
Despite her belief in her artistic vision, Gomes faced challenges gaining recognition in the broader art world. Her choice of medium and her identity as a Black woman often resulted in her work being classified as craft. Nevertheless, her determination—”I didn’t care about the name, whether it’s art or craft. I just kept on making it”—ultimately led to success. Beginning in the mid-1990s, she started showcasing her work in smaller galleries in Minas Gerais, and by 2012, she held her first solo exhibition with Mendes Wood DM, the São Paulo gallery that continues to support her, alongside Pace.
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www.vogue.com