By CRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
From CRAB Sebrae - Sebrae Reference Center for Brazilian Handicrafts
Forró embaixo da jaqueira by Sil da Capela (Maria Luciene da Silva Siqueira)CRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
A HANDMADE BRAZIL
The curation highlights the diversity of techniques and territories of Brazilian crafts, revealing the role of raw materials in the construction of artisanal knowledge and practices. The selection of pieces encompasses four major material families: ceramics, wood, weaving, and indigenous art.
Forró embaixo da jaqueira by Sil da Capela (Maria Luciene da Silva Siqueira)CRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
CERAMICS – THE CLAY THAT TELLS STORIES
Ceramics is one of humanity's oldest crafts. In Brazil, molded and kiln-fired clay is transformed into vibrant sculptures that portray daily life, affections, and popular festivals.
Sil da Capela – Modeling Rural Daily Life
Work: Forró Under the Jackfruit Tree
Sil da Capela manually shapes figures from clay, using the traditional free-form molding technique and firing them in a rustic kiln. Here, the forró and the shade of the jackfruit tree meet in a lively folk scene.
Mãe by Maria José Gomes Da Silva - ZézinhaCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
Zézinha – Feminine Identity
Work: Mãe
Zézinha is a female reference in the ceramics of the Jequitinhonha Valley, producing with hand-modeled clay, her dolls that feature elongated feminine forms, decorated with polychromatic paintings.
Clay Dolls
After modeling, the artist fires it and applies colors, enhancing the natural texture of the clay.
Chamego by João BorgesCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
João Borges – Affection Molded in Clay
Work: Chamego
João Borges uses manual modeling in clay, fired in a high-temperature oven. His figures are rounded and the simple lines are full of expression.
Leões de TacunhaémCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
Master Nuca of Tracunhaém
Work: Lions of Tracunhaém
Master Nuca dos leões' technique involves manual modeling in clay, with carefully sculpted details.
GalgosCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
WOOD – SCULPTING LIFE AND MEMORY
The wood, extracted from native species such as mulungu, cedar, and jackfruit, is shaped precisely through hand carving. Each piece is created by cutting, chiseling, and scraping, preserving its natural texture and color or adding pigments.
Sertânia Landmarks – Sertão Carving
Work: Galgos
Using woods such as jackfruit and mulungu, Marcos creates manual carvings, highlighting slender and elongated shapes.
Favela by Paulo SergioCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
Paulo Sérgio – Urban Sculpture on Wooden Panel
Work: Favela
Working with light woods, artisan Paulo Sérgio from the Mestre Noza cooperative in Juazeiro do Norte, applies the carving and assembly technique to compose three-dimensional panels.
Placa de 4 anjos by Mestre Nicola (Jaime Nicola de Oliveira)CRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
Master Nicola – Sacred Art in Baroque Carving
Work: Plaque of 4 Angels
Master Nicola the “angel maker” manually carves wood, creating plaques with angelic faces with baroque features.
O Salto by Alex TelesCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
Alex Teles – Movement in Raw Wood
Work: The Jump
Alex Teles uses direct manual carving on whole trunks, following the GTO family tradition.
Without the use of nails or glue, the piece is carved from a single block, highlighting the movement and intertwining of the human figures in O Salto. This work demonstrates how social dilemmas are present in the works of the Teles family.
Boneco aberaldo 3 CabeçasCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
Aberaldo Sandes – Fantasy and Expression in Wood
Work: Aberaldo 3 Headed Doll
Master Aberaldo is considered one of the precursors of carving on Ilha do Ferro, he uses mulungu wood, manually carved with organic and suggestive shapes.
Cesto by Etnia AssuriniCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
BASKETWEIRING – WEAVING ANCESTRAL KNOWLEDGE
Indigenous basketry, made with plant fibers such as arumã and vine, involves ancient hand-weaving techniques. Each piece requires precision in cutting, dividing the fibers, and symmetrical weaving that incorporates ritualistic graphics.
Assurini – Fiber and Xinguan Graphics
The Assurini use fibers from vines and other local plants, hand-woven into delicate pieces. Their designs, also present in ceramics and body painting, are applied to basketry as a way to preserve ancestral stories and knowledge.
Ceste by Etinia indigena BaniwaCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
Baniwa – The Braiding of the Arumã
The Baniwa have mastered the technique of weaving arumã, a strong and malleable Amazonian fiber. The thin strips, dyed with natural dyes, are skillfully interwoven to form baskets, sieves, and urutus, using geometric designs that represent the symbolism of Baniwa culture.
Ceste de ArmazenagemCRAB Sebrae - Centro Sebrae de Referência do Artesanato Brasileiro
Strategic project management and curatorial guidance: Nathalia Laurindo
Expography, image curation, editorial organization and adaptation of texts for the exhibition: Tassiana Frank
Organization of information, metadata and structuring of materials: Gabriel Lopes
Curatorship, text and research: Bruna Santos, Laura Landau and Tassiana Frank
Executive Direction: Sérgio Malta
Sebrae: Sebrae Technical Sheet
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