Luiza Prado by Maurizio Mancioli
LUIZA JESUS DO PRADO
Luiza Jesus do Prado, also known as Luiza Prado or Hifa Cybe, is a Brazilian transdisciplinary artist, researcher, scientist, and technologist. Born in 1988 in the rural
periphery of Guaratinguetá, São Paulo, Brazil, she has been working at the intersection of arts, science and technology.
Her research is centered on memory and, consequently, on mental health and its multifactorial dimensions—ranging from trauma, death, and environmental collapse
to gender, sexuality, and the anthropological roots of pain and violence. Her work also addresses how vulgarized concepts of madness have
hardened across human history and proposes a decolonization of mental health, integrating emotional, spiritual, and sociopolitical layers.
Prado has developing trauma reprocessing methodologies through photography. Over time, her research has expanded into using physico-chemistry structures in dialogue with art to explore mental health treatments and possibilities for democratization in public health.
Her main artistic platforms include photography, sound and body arts. In performance blends Butoh, physical theater, contemporary dance, aerial chain and Shibari—
resulting in ritualistic, visceral, and animalistic compositions. She also
employs mediums such as object art, video art, writing, painting, drawing, food, gas and olfactory elements, sculpture, and immersive technologies.
Her works have been featured in international exhibitions and biennials, including PST: LA/LA (USA), the Morocco Biennial, and the Shanghai Biennial of
Photography and Video (China). Her pieces are included in public collections such as MAC Bogotá (Colombia)
I am a person with a disability (PwD) with dual exceptionality: Autism level 2 support with AH/SD and the comorbidities of: Situational autistic mutism, Alexithymia, SDAM – Severely Deficient Autobiographical Memory and Aphantasia.
I am a trans person; I am agender, non-binary, and bisexual/pansexual.
For further questions or information on terms, please refer to the links provided.
by Ana Vohs
by Maurizio Mancioli
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Luiza Prado by Maurizio Mancioli
Scientific Resume
Luiza Jesus do Prado is a multidisciplinary researcher focused on Biophysics, Semiotics, Neuroscience, and Psychobiology. With academic training in Multimedia, Photography, and Biomedical Sciences, she develops research at the intersection of Mental Health, Public Health, and the Arts. She is currently a postgraduate student in Psychopathology and Public Health at Santa Casa and holds certifications from institutions such as Harvard, Johns Hopkins, HCFMUSP, and Bayreuth in areas including Neurogenetics, Neuroimaging using fMRI, Genomic Data Analysis, and Biofabrication.
Her interests encompass Genetics, Molecular Biology, Pharmacology, Health Tech, Immunology, Toxicology, and Integrative and Complementary Health Practices. She explores experimental and transdisciplinary methodologies that articulate Science and Art to create accessible and non-bureaucratic approaches to mental health treatment and harm reduction. Prado also conducts parallel studies in fields such as Mycology, Nuclear Physics, Anthropology, Acoustics, Wave Theory, and Philosophy.
Artistic Resume
Luiza Jesus do Prado, also known as Hifa Cybe, is a Brazilian transdisciplinary artist and researcher. Her work articulates art, science, and technology to investigate memory, mental health, and trauma, exploring expanded photography, sound, and performance. Her bodily practices engage with ritual, gender, and decolonial healing processes.
Personal Statment
I define my practice as transdisciplinary, guided by integration and the search for meaning at the intersection of art and science. Within an open and indeterminate horizon, these fields converge, organize themselves, and merge, keeping the body as a central agent, moving between macro and micro scales, and between the public and the private.
The body becomes essential within an aesthetic shaped by ancestral rituals and symbolic systems, remaining in direct contact with the materials it records, as well as with substances that provoke denial, discomfort, or repulsion. This approach constitutes a mechanism for developing an alternative, visceral, marginalized, and expanded aesthetic, often organic, processed through both traditional and technical platforms. Fluids, blood, residues, oxidation, putrefaction, and recycling operate as temporal and material processes within the work.
Themes such as sexuality and gender, decolonization, peripheral realities, the deconstruction of privilege, syncretism, Indigenous ancestry, politics, memory, and mental health permeate my practice, emerging directly from my biography. What began as a process of self-knowledge expanded into an ethical necessity to be useful, to place my body in a political state of availability. Like madness, art was not a choice but a necessity, a form of resistance and liberation, and a method of reprocessing experience through multiple perspectives, without limits to development, questioning, or inclusion.
Poetic
Her scientific research begins with questions regarding the consolidation and recovery of memory through photographic reprocessing, image decompilation, and sounds generated from visual data. These processes investigate memory as unstable, fragmented, stratified, and in constant rewriting.
Her artistic practice merges with scientific research, functioning as a living laboratory in which art materializes, translates, and destabilizes scientific concepts. In this space, art becomes a tool for experimentation, reflection, and the democratization of methods traditionally restricted to clinical or academic psychological treatment, opening them to broader sensory and cultural discourses.
Her research focuses on neurophysiological responses to sensory stimuli, particularly sound and image, examining their construction, distortion, and physical and chemical reactions in the human brain. These investigations encompass photographic reprocessing, the decoding of communication systems, image decompilation, visual effects induced by chemical agents such as those associated with psilocybin and reenacted through artistic processes, and performance as a central device for trauma desensitization.
Developed through a transdisciplinary methodology, her practice operates at the intersection of semiotics, neuroscience, and psychobiology, engaging with biochemistry, physics, genetics, pharmacology, and data science. This hybrid environment sustains a field of research in which scientific investigation and artistic experience coexist, influence one another, and expand mutually.