Gabriela Giroletti’s Show 

Leme Gallery,  Nov/24 – Jan/25

In São Paulo, Brazil, Leme Gallery is currently hosting a solo exhibition by Gabriela Giroletti, a young Brazilian artist based in London, United Kingdom. Despite being born in Porto Alegre, the capital city of the southern Brazilian state of Rio Grande do Sul, this marks her first exhibition in her home country. The show explores the multifaceted possibilities of painting, from its materials to its visual language (see Photo 1).

Giroletti established herself as an artist in the UK, where she moved 14 years ago. This explains why her career initially took root in Europe, and she became represented by a European gallery—Kristin Hjellegjerde Gallery—since 2021. This gallery also operates in international markets, including the USA and Germany.

Titled Mil Manhãs (literally, A Thousand Mornings), this exhibition celebrates her new representation by Leme Gallery, founded in 2004 by Eduardo Leme. The show features 11 large and 7 small paintings, all created in 2024. Giroletti employs a variety of materials on canvas, including oil and acrylic paints, as well as other pigments and mediums (see Photo 2).

Leme Gallery’s premises were designed by Paulo Mendes da Rocha (1928–2021), a Pritzker Prize-winning architect and a major figure in Brazilian architecture. Known for his bold use of concrete, Mendes da Rocha’s style, often described as “Brazilian Brutalism,” is exemplified in the gallery’s main building. The space, where Giroletti’s exhibition is displayed, is constructed entirely from concrete, featuring high ceilings and a large skylight that floods the interior with natural light. It is undoubtedly one of the three most architecturally striking galleries in São Paulo.

Giroletti earned an MFA in Painting from the prestigious Slade School of Fine Art in 2018. She has participated in solo and group exhibitions across France, the United States, and England, among other countries.

In Mil Manhãs, Giroletti approaches painting as an object rather than a mere surface. For instance, the sides of her canvases are treated as integral parts of the work. Her brushwork creates texture, volume, and depth through multiple layers of paint. Some paintings also feature small, attached elements that extend beyond the canvas, creating a spatial dialogue.

A recurring theme in her work, as she states, is a departure from illusionism. While nature inspires her, she avoids replicating it. Instead, her work invites viewers to engage with its abstract qualities—color, line, decision-making, and even the uncertainties of the creative process—without imposing interpretive narratives.

In the titular painting, Mil Manhãs (see Photo 3, right), one cannot immediately grasp the concept of “a thousand mornings.” Can such an idea even be visualized? Are the colors reflective of morning light? What are “morning colors,” anyway? These unresolved questions are central to Giroletti’s work, sparking curiosity rather than providing definitive answers.

In a smaller painting like Paisagem Porosa (Porous Landscape, see Photo 4), the unconventional shape surprises the viewer. How was it formed? Who defined its shape—the artist or an external influence? The same questions of color, form, and meaning found in Mil Manhãs persist here. As with all great art, Giroletti’s work raises questions rather than offering solutions.

The exhibition’s curatorial text, written by me, highlights that “her production floats between the figurative and the abstract.” The paintings neither fully depict the tangible world nor entirely disconnect from it. Instead, their interpretation depends on the viewer. As the text explains, “like any poem, her paintings do not offer definitive propositions” (see Photo 5).

At London Art Walk, we would be delighted to guide you through the best galleries in São Paulo, offering tailored tours that match your interests. From small, indie galleries to expansive international venues, the city has it all. Join us to explore Brazilian art and gain insights into São Paulo’s vibrant art scene.

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