Barbara Basseto’s (1994, Campinas, Brazil) paintings are meditations on repetition as a process that leads to the creation of new forms. Her work departs from protocols whose flexibility aims to establish an intimate game played out by the artist and the surfaces she engages with while painting. Among the supports used are both those from the pictorial tradition and fabrics used in the textile and fashion industry. The graphic aspects of those materials serve as provocations for Basseto, who responds to them with new forms drawn from banal objects and clothes patterns, as well as from architecture and art history, in an intricate web of references.

Through the approximation and confrontation between colors, motifs and materials, Basseto creates small and medium-scale works, surrounded by an atmosphere of silence, making the observer look closer, patiently, without, however, leaving aside the quiet irony that inhabits her work. Repetition structures her paintings, introducing into them a suspended temporality that is tensioned in the perception of the successive times in painting given by the intuitive overlapping of different motifs. These operations start from the understanding of painting as a language, whose elements are arranged not to form a discourse, but to reveal an image that affirms nothing other than itself.

Barbara Basseto already had two solo exhibitions: Ai de mim, que sou romântica, at Luis Maluf Art Gallery, in São Paulo, Brazil; and Longitude vicinal, at Câmara dos Deputados Cultural Center, in Brasília, Brazil, both in 2023. Her works were included in group shows such as: Sobre planetas, idílios e miudezas, at AM Gallery, in São Paulo, Brazil (2023); Quem conta um conto aumenta um ponto, at Usina Luis Maluf, in São Paulo, Brazil (2022); Contínua, at Luis Maluf Art Gallery, in São Paulo, Brazil (2022); Derivas bidimensionales, at BGA Gallery, in Bucaramanga, Colombia (2021); and 17th Art Territory, in Araraquara, Brazil (2020).