MALG presents the exhibition by the researcher, teacher and restorer Lenora Rosenfield. Her work is constructed out of the marks of her itineraries. The vigorous materiality, strong and expressive brushstrokes, the recurring references to the body and the human figure, as well as the allusion to the history of painting, reveals how her choices, her education and her destinations reverberate in her body of work and are updated in their context. Born in Porto Alegre, she studied painting at the New School for Social Research (New York / USA), earned a degree in drawing at Feevale (Novo Hamburgo / Rio Grande do Sul), studied restoration at the Istituto per l'Arte e il Restauro and Gabinetto G. P. Vieusseux (Florence / Italy), did a master's degree in Visual Art at the Federal University of Rio Grande do Sul (Porto Alegre / RS), a doctorate at the University of São Paulo (São Paulo / SP), with complementary studies at New York University and a post-doctorate at Università degli Studi di Udine (Italy). She worked as a restorer, and also as a professor of painting at the Federal University of Rio Grande do Sul until 2017. This show demonstrates her transit between techniques and materials - acrylic on canvas, acrylic on paper, gouache on paper, synthetic fresco on nonwoven textile - which is one of her determining characteristics, establishing certain recurring themes: portraits, the self-portrait and the body as a measure and movement that unfolds on maps. The artist's entire narrative seems to point to the convergence of times and spaces sewn together through her paths and the different destinations adopted throughout her career and education. Amid this fluidity and transience, one of the constants of Lenora Rosenfield's work is the marked brushstroke that underlines the connection with the painting tradition of Rio Grande do Sul, her place of origin, following the trail blazed by Iberê Camargo with the expressionist feature that alludes to emotion and the unconscious, so present in many artists that emerged in the 1980s - a period in which the artist's production reached more defined directions.
 Of course, there are variations. Some arise from the very nature of the materials and techniques used; others come from her own choices at different times, such as more lavish or economical uses of color, for example. “Self-portrait lll” is one of the works featured in this exhibition in which, through a colorful and gestural representation, the artist presents herself in her craft, constructed through spontaneous brushstrokes, in a mise en abyme self-portrait that seems to confirm her interest in tradition and the craft of painting. The body as a measure and a movement is presented in “Dorsum” and "My Own Flesh,” works in which the presence of technique and material - synthetic fresco on nonwoven material - imposes itself on the use of color and brushstrokes, which become noticeably more discreet in these works. In the series of untitled gouaches, the black and watery strokes regain their vigor in immersed, reflective figures. In the most recent series, it is possible to identify a kind of synthesis and fusion of several characteristics presented in previous movements. The series "Movement," "Fall" and "Flying" depart from representations of the body and dance movements in spaces towards a simplification and abstraction of the form that evokes maps and archipelagos viewed from above. The artist's interest in grids, as associated with modular paintings in small formats, establishes ensembles that integrate with the architectural space without losing sight of the uniqueness of each modular work in sets of images that reverberate the entire world that Lenora Rosenfield shares with us through her poetic work.
This exhibition shows her transit through techniques and materials - acrylic on canvas, acrylic on paper, gouache on paper, synthetic fresco on nonwoven textile - which is one of hers determining characteristics, concretize some recurring themes: portraits, self-portrait and the body as a measure and movement that unfolds on maps. The artist's entire narrative seems to point to the convergence of times and spaces sewn through her paths and by the different destinations adopted throughout her career and training.

Amid this fluidity and transience, one of the constant aspects of Lenora Rosenfield's work is the marked brushstroke that highlights the connection with the painting tradition of Rio Grande do Sul, her place of origin, following the directions traced by Iberê Camargo through the expressionist trait that alludes to emotion and the unconscious, so present in many artists that emerged in the 1980s - a period in which the artist's production reached more defined directions.
There are variations, of course. Some arising from the very nature of the materials and techniques used, others arising from their own choices at different times, such as the more abusive or economical use of color, for example. “Self-portrait lll” is one of the works presented in this exhibition in which, through a colorful and gestural representation, the artist presents herself in her craft constructed, through spontaneous brushstroke, an en abyme self-portrait that seems to confirm her interest in tradition and craft of painting

The body as a measure and as a movement is presented in “Dorsum” and my "Own flesh” works in which the presence of technique and material - synthetic fresco on nonwoven - imposes itself on the use of color and brushstrokes, which become noticeably more discreet in these works. In the series of untitled gouaches, the black and watery strokes regain their vigor in immersed and reflective figures.
In the most recent series of works it is possible to identify a kind of synthesis and fusion of several characteristics presented in previous movements. The series "Movement", "Fall" and "Flying" depart from representations of the body and dance movements in spaces towards a simplification and abstraction of the form that evokes maps and archipelagos seen from above. The artist's interest in grid itself and the grid, associated with modular paintings in small formats, sets up sets that integrate with the architectural space without losing sight of the uniqueness of each modular work in sets of images that, reverberate the all the artistas world that Lenora Rosenfield shares with us through her poetic work.