Venus on Fire

Erika Verzutti: A Sculptor of Sensual Landscapes

Born in São Paulo, Brazil, in 1971, Erika Verzutti’s artistic journey is deeply intertwined with her anthropological upbringing. The daughter of José Mariano Carneiro da Cunha and Manuela Carneiro da Cunha – both renowned anthropologists – Verzutti inherited a profound respect for the complexities of human experience and a fascination with the interplay between nature and culture. This heritage profoundly shaped her approach to sculpture, moving beyond purely formal concerns to explore themes of fertility, sexuality, and the evocative power of the body.

Her early studies at Parsons School of Design in New York City and later at Goldsmiths College in London provided a crucial foundation in design and contemporary art practices. However, it was her return to Brazil that truly ignited her artistic vision. Verzutti’s work began to coalesce around a distinctive style characterized by the seamless integration of organic and geometric forms. She masterfully combines bronze, concrete, fabric, and other materials – often incorporating unexpected elements like newspapers and resin – creating sculptures that are both monumental and intimate, simultaneously familiar and unsettling.

The Language of Form: Organic Echoes and Geometric Precision

Verzutti’s sculptures aren't simply objects; they are carefully constructed narratives. She frequently draws inspiration from the natural world—fruits, plants, and animals—but reimagines them through a distinctly human lens. Recurring motifs include eggs, orbs, and suggestive representations of the female body, often imbued with a sensual quality. These elements are juxtaposed against geometric forms – columns, circles, and planes – creating a dynamic tension between the organic and the rational.

Influences on Verzutti’s work are diverse and layered. She cites Brancusi's emphasis on pure form and Bourgeois’ exploration of the body as key touchstones. However, her practice also demonstrates a deep engagement with Brazilian art history and architecture, particularly the works of Oscar Niemeyer. This fusion of influences results in sculptures that feel both deeply rooted in tradition and strikingly contemporary.

A Global Presence: Exhibitions and Collections

Verzutti’s work has garnered international recognition through numerous exhibitions and inclusions in prestigious collections. Her sculptures have been showcased at renowned institutions such as the Solomon R. Guggenheim Museum in New York, the Museum of Modern Art in Rio de Janeiro, the Pinacoteca do Estado de São Paulo, and the Centre Pompidou in Paris. Notably, her pieces are held within significant collections including the Saatchi Collection UK, the thyssen-bornemissa tba21 collection Austria, and the coleção gilberto chateaubriand/mam rio de janeiro.

Significant solo exhibitions include *The Life of Sculptures* at LUMA Arles (2024), *Notizia* at ICA Milano (2024), *Tantra* at Museo Experimental El Eco, Mexico City (2023), and *Churros and Rain* at Andrew Kreps Gallery in New York (2022). Her work has been featured in group exhibitions such as the 57th Venice Biennale (2017) and the 34th Panorama of Brazilian Art.

Sculpting the Narrative: Recent Developments and Ongoing Exploration

Currently, Verzutti is engaged in a residency at LUMA Arles, where she’s developing a new body of work titled *The Life of Sculptures*. This project builds upon her established practice by exploring themes of rest, exhaustion, and the cyclical nature of creation. The exhibition incorporates sculptural forms resting on resin-encased newspapers, creating a surreal and anthropomorphic dreamscape.

Her upcoming exhibition, *Notizia*, at the Fondazione ICA in Milan, promises to further expand her artistic vocabulary, continuing her exploration of the interplay between form, materiality, and human experience. Erika Verzutti’s work remains a compelling testament to the power of sculpture to evoke emotion, stimulate thought, and bridge the gap between the natural and the constructed worlds.