PINDORAMA, a term in the Tupi-Guarani language meaning “land of palm trees,” was the name Indigenous peoples used to designate the territory we now know as Brazil. This concept structures the entire series: a symbolic return to origins and to the ancestral memory that shapes the artist’s identity.

A multidisciplinary artist, Miranda develops a practice centered on memory, belonging, and cultural identity. From her studio in Noto, Sicily, she revisits Brazil from a distance, transforming it into a space of poetic reconstruction. Her vibrant compositions, influenced by Brazilian poetry and music, translate rhythms and narratives into an intense and evocative visual language.

In PINDORAMA, Brazil becomes a symbolic construction: filtered through time and geography, it emerges as a personal myth in dialogue with collective memory. The works operate both as celebration and as reflection on shared history and the relationship between territory and identity.

This body of research also gives rise to The Arazzo Collection, a special edition in which the paintings are presented suspended from brass bars. This format introduces lightness and dynamism, while the metal—closely linked to the mining tradition of Minas Gerais, the artist’s homeland—adds a symbolic dimension connecting matter and memory. Brass also evokes Brazil’s history of gold, with its splendors and contradictions, while referencing the physical environment of her studio, integrating the creative process into the work itself.

“It is an ode to life and joy, celebrating feelings deeply connected to my roots, my land, my family, and the environment that defines an essential part of who I am. It captures the warmth, vibrancy, rhythms, and movement of my PINDORAMA, and honors a culture that I love and carry with me wherever I am.

The PINDORAMA series is an invitation to enter my universe through a symphony of colors that evoke the spirit and sounds of my homeland.”

— Júlia Martins Miranda