Heloisa Hariadne, born in São Paulo (1998), is a visual artist and in her work there is a kind of poignant plea - that her work asks for and causes - which is to be part of nature. Heloísa also states that the author Ailton Krenak “invaded” her research, because when she did not know him, she started her pictorial projects and when she met his text “We will have to produce other bodies, other affections, dream other dreams to be welcomed by this world and we can inhabit it ”, she understood that her art asks for a dream, but not a dream of sleeping and waking up, but a dream of imaginary practice for creation. And that was how she had the idea of painting in the sea, as practice, and that is how she needs to continue painting. After participating in worlds that are actively connected to the earth.
In this work (Perceptions of visions that were so natural, they became invisible), Heloísa Hariadne deals with the theme “Slavery and Technology” to highlight the technical-scientific knowledge left as an African legacy in Brazilian daily life and culture, through the knowledge of what the enslaved had and used to create countless instruments for different purposes. The work also seeks to demystify the superficial idea that black contributions to the formation of Brazilian society are restricted only to artistic and cultural aspects, also breaking with the common sense maxim that African history begins with slavery.
In this way, it is also possible to think about the coexisting relations between the knowledge elaborated in the past and how they reinvent themselves today, through relations of ancestral searches through possible dialogues between the past and present.