Appropriation

The project investigates the symbols of sexuality in art and entertainment, revealing dynamics of power, marginalization, and resistance. It explores the symbolic language of prostitution, eroticism, fetish, BDSM, and other subversive themes that permeate sexuality and its social and economic impact.

This project examines the use of these symbols both in the realms of art and entertainment, while also highlighting the concurrent marginalization of sex workers. Through the analysis of cultural representations, it seeks to understand how sexuality is portrayed and symbolized across various forms of media and art, and how these representations influence public perception and the social treatment of sex workers.

Sex work, in its various manifestations — prostitution, camming, striptease, pole dance, burlesque, BDSM, fetish, and the cinematic pornographic industry — inhabits a space marked by structures of power, appropriation, and subversion. These bodies that perform desire are simultaneously object and subject within a pleasure economy that reveals both the oppressive dynamics of capitalism and the potentials for autonomy and resistance.

A vintage jewelry box with a floral pattern, containing a miniature figurine of a woman in black lingerie, holding a pole, standing on a small platform inside the box.

Fetiche 1 (mukbang)

Menu: Ceviche, Sancocho, Pamonha, Café, Bolo de Fubá (pastel de harina de maíz) y Feijoada

The performance proposes a reflection on the politics of marginalized bodies within sexual contexts. The body, covered by a latex bodysuit and mask, becomes an anonymous and fetishized surface where identity disappears, giving way to a territory of projection and consumption.

By ingesting dishes such as feijoada, pamonha, ceviche, or sancocho, the action goes beyond the act of eating. These foods operate as symbols that condense colonial histories, subsistence economies, and cultural resistances. Their flavors, associated with contexts often labeled as “underdeveloped,” are brought into the performative space as materials of tension. The act of eating reveals the paradox between the celebration of these cultures and their simultaneous exoticization and exploitation.

In this way, the performance establishes a mirror between the consumption of marginalized bodies in the sexual imaginary and the material consumption of territories and peoples positioned within structures of global inequality. Latex, as both a material of protection and fetish, intensifies this contradiction: what is hidden is also exposed, what is desired is also disposable.

The black mask, in particular, alludes to processes of appropriation and erasure of narratives. In dialogue with Frantz Fanon’s Black Skin, White Masks, the work suggests that a mask is never neutral: it functions as a mediation between desire and violence, imposition and survival. If, for Fanon, the white mask embodies the pressure to conform to a colonial norm, here the black mask exposes the tension of carrying an identity that has been consumed, exoticized, and transformed into fetish.

The performance seeks to strain the boundaries between pleasure, inequality, and resistance, inviting reflection on how the erotic, the economic, and the cultural intertwine in the lived experience of dissident bodies.

Person peeling a cooked corn on the cob.

A black bowl with corn on the cob, pieces of cooked meat, and an apple in broth.

Close-up of lips with a rolled cigarette resting on the lower lip.

Close-up of a person wearing a black helmet, with visible lips and part of face showing, against a pink background.

A person wearing a black ski mask, black leather jacket, and holding a metal fork with a gold handle, with pink background.

Person wearing a black latex mask and long-sleeved black outfit, eating food against a pink wall.

Person wearing a black latex mask and black latex outfit, touching their face with one hand, against a red background.

Person wearing a black ski mask and black leather outfit, holding a fork and eating from a bowl against a pink background.

Close-up of lips with saliva and a small green pepper sticking out.

Close-up of a black and white cat, partially obscured, with visible eye, nose, and whiskers.

Close-up of a dish with cubed pink meat, sliced red onions, and green herbs in a creamy sauce.

Person wearing a black mask with reflective eye lenses and a black leather jacket, covering their face, with tattoos visible on their arm, against a red background.

Person wearing black shirt holding a white mug and stirring a dark-colored liquid with a spoon.

Person wearing a black mask and black clothing, holding and drinking from a gray mug, against a red background.

Person holding two slices of toasted bread

Person wearing a black latex mask and suit, with a pink background, touching the mask's nose with one hand and holding an object with the other hand.

Person in a black jacket and gray shirt with black face mask holding a piece of food, with their face partially visible and an eye visible, against a reddish background.

Person wearing a black mask and black leather outfit, holding and eating a yellow ice cream cone against a pink background.

A close-up of a person's hand with a tattoo, touching a black and white animal, possibly a dog or a cow.

Close-up of a person with black and gray shirt, showing their chest, chin, lips, and part of their face with a reddish background.

Close-up of a person wearing a black hoodie and ski mask, holding a chicken with a yellow handle tool.

Person wearing a black ski mask, holding and eating food with a red background.

Pink toy gun with three pink toy grenades on a white background.

A woman with long hair, sitting on a high heel shoe, revealing tattoos on her back and thigh, with the words 'PUTA ARTISTA' in large red font.

Bold red text repeating the words 'ARTISTE PUTA' and 'ARTISTA' on a white background.

Self Service

-

A red and green speckled pattern with no distinct objects or scenes.

A screenshot of a messaging app conversation where one person messages another with a greeting and questions about their day, stopping at a message saying 'Other than being delicious'.

A screenshot of a messaging app conversation with a question about the identity of the sender, asking if they are a person or a company.

Chat conversation with a person asking about a food item. The message suggests the food looks like a corrupted bowl of food or a corrupted hamburger.

A screenshot of a messaging app conversation with a comment saying, 'If these are your real photos, you look like Delicious :]' and a GIF icon at the bottom.

A screenshot of a messaging app with a conversation. The last message from a user reads, "I couldn't decide. I'd pick both haha". The interface shows tabs for Messages and About, with the Messages tab highlighted in red.

A screenshot of a messaging app with a conversation in blue text bubbles. The person is joking about a cheeseburger, food, and the Big Bowl, possibly a restaurant or food reference.

Screenshot of a messaging app chat with a message that says 'Mmm que deliciosa rs' in a blue speech bubble.

Screenshot of a messaging app conversation with a person sending a message in a blue chat bubble. The message says, 'Hi Luiza, I love food. And you have only pictures of food. So somehow I'm confused if this is what they call, Love at first sight. Co

A text message conversation on a mobile phone screen, with a message from a person expressing confusion and asking for guidance, mentioning love of food and sunshine.

A screenshot of a messaging app showing a conversation with a text message that says, 'The cheeseburger got me hooked already but whats in the big bowl? You into foodporn or something :)) ??' The message appears to be from a person and is sent about

A mobile messaging app screen showing a conversation with a message that says, 'If these are your real photos, you look like Delicious :]' and a GIF button at the bottom.

Screenshot of a messaging app conversation. The user has sent a message saying, 'Nice photos. I like food,' followed by a question asking if the other person prefers vegan or burgers. The conversation is three days old.

Screenshot of a messaging app with a user comment in Spanish saying "Mmm que delicia rs" and a message input box at the bottom.

Screenshot of a messaging app conversation where a person says, 'I couldn't decide. I'd pick both haha.'

Mobile device screen displaying a warning message that an account is under review due to multiple reports, with a red Logout button at the bottom.

Database

An art gallery room illuminated with red lighting, featuring framed artwork on the walls and a central pole with a reflective surface.

Empowering and Feminist Workshop Made
by Male Photographers

A collage of black-and-white photos featuring women posing in a photography studio with a large studio light. Each image has a caption with humorous or provocative commentary.

“Empowering and Feminist Workshop Made by Men Photographers” is part of a series of works that questions the manipulation of the feminine while image and object inside photography, specifically the sexuality and nudity of the portrayed woman. This performance is a critic to the sexual absuse in the photography scene and the appropriation of the feminine speach within projects, and so a deletion of the women professionals, besides the vunerability of the models. And as something cultural, as a teaching, that goes from one person to another, the performance is a “Workshop”.

The sentences spoken in the video are based in true facts. A research was carried out with artistic nude models and all of the sentences said did happen.

Sorry, but you are so hot that it’s hard to focus on the photography / Is it ok if I take my shirt off? I wanna get comfortable with you / That one is a teen, I love teens / You are my little slut / I thought you were more wild / Spread your legs more / If you tell someone I’ll fuck you / You are not a lesbian, it’s just that you still haven’t found a real man / You make me horny / You are dressed like a nun. One of my fetishes is to molest a nun, against her will / I need you to send me homemade pics, nude, before registering for this casting / Open her for me/ Can you take a picture of your pussy and sent it to me? Just so I can see if you are right for this job / Can you shave? I don’t like hairy women / You have a pretty face, it’s a shame you’re fat / You’re gonna see what a “I love you” looking in the eyes can do / I have a contact list that every man wanted to have / You choose to protect or expose yourself/ I don’t run after models / Do you like forced sex? / Sorry, I don’t click fatties / Lift up your breats more / Can I use this oil on your body? / I wanna leave your pussy very exposed / I only click you if you sleep here afterwards / I’m gonna choke you for real / If I give you $300 will you suck me off? / Can I touch your body? It’s only for a theatrical matter / I didn’t rape her. She, although drunk, also wanted it / Women photographers doesn~t know how to photograph other women / I only photograph women who makes me horny / I can click you, but it’s only you and me… you can’t bring anyone else / I love white girls like you… they bruise easily / Do you wanna see my cock? / Can you bring that friend of your for the session? Then we can make it a threesome / I’m not interested in photographing lesbians / You are too manly / Your body is very weird / The fat girls I photograph are quota / Spread it for me / Open more your ass, please / I thought you were hotter in person / I can’t focus on the photo looking at you / Hottie / I’d love to photograph you, but black women does not fit with the kind of light I work with / By your pictures… you’re an escort girl right? / You are too old for the kind of work I do / Are you this unhibited in bed too? / Lift up your ass more / I make women feel stronger with my work / I only photograph fat girls so no one says I’m discriminating, because they are terrible. Besides ugly they also keep demanding the pictures / If I hadn’t discovered you, you’d be nothing / Women photographers only causes fights with models / I have a fetish in having sex with models / You aren’t even that beautiful, I’m doing a huge favor in photographing you / Can I take some pictures with my hand on your ass? Just to post on my Instagram / Are you under 18? I lofe ninfos, we could do these pictures and no one would know / Seduce me / I would make a child in you / Can you stick your finger for me… / You looking at me like this… I’m sure you want me to fuck you / Do a naughty face, imagine my cock in your mouth / Your breasts are beautiful, would be even better without bra / Can you do doggy position for me? / Can you open your asshole for me? / Can I touch your boob? / Drink a bit, so it makes things easier / I only photograph teens / Your boob has a weird shape, do you have any problem? / I’m gonna beat you in the ass with this shibari rope / If we have a more intimate relationship I recommend you to other jobs / Put your finger in your mouth / If you tell anyone of what happened here, I am influential and I can hurt you / Do you want me to take my shirt of so you can be more comfortable? / Can you brush your hair before the session? I don’t like curly hair / No one’s gonna believe if you tell what happened here, because I’m famous and you’re not.

Bailarina

A person suspended and bound in rope with tattoos visible, in a BDSM or shibari scene, with a person outside the frame holding the ropes.

Black and white photo of a woman with tattoos on her arms and legs, wearing a frilly dress, posed on a swing with ropes, with her eyes closed and head tilted back, shadow cast on the wall behind her.

Tattooed woman in lingerie stands behind a wooden stool, with ropes and a ballet pointe shoe on the floor and on the stool.

Corrupted System

Advertising still frames us as desirable commodities. The art market fixes us as passive muses — never agents. Religious structures instrumentalize us as bodies of service, through normalized symbolic and physical abuse. All of this is upheld by a rhetoric that imposes Eurocentric, cisheteronormative, and racialized standards as default.

Within this field of forces, the project emerges as a counter-device. It appropriates the language of media and the universal codes of communication in order to corrupt them — through pornographic digital practices where the body is not merely an object of desire, but a subject that returns the gaze, breaks the frame, and creates fractures in dominant morality.

The phenomenology of power is inscribed on the layers of skin, in platform algorithms, in how the body is captured, distributed, monetized, performed, and judged. The boundary between public and private collapses: the body becomes a contested territory, where colonialities are marked and new modes of oppression and resistance unfold.