Although she has never actually worked in an external department, Gomez is not a whole new point in bringing nature directly into the method. “Her connection to the land is actually in this particular job,” said Ossei-Mensah. For example, wood actually uses structures that are like canvas, she attracts and stitches.
In fact, she has long been interested in proportions in nature (i.e., the Fibonacci series). That’s how she chose the various necklaces set by Tornado King 13 times, and in the room at the Pinacotica Gallery in Sao Paulo, I was lucky enough to see the spectacular setting in 2023.
Making her work and life feels the best, and it is also Gomez of the past. “You can’t see anything different from the atmosphere below, unlike the trees, environmentally friendly and the sky,” Lawrence said.
Born in Caetanopolis in 1948, Sonia Gomes is the former fabric center of Minas Gerais in Brazil, a black mom and white dad. After her mother died at the age of 3, she was sent to Birchen to be added by her father’s family, but she said she was denied feelings and connections with African descent. In this case, her early initiatives in clothing self-expression have a deeper meaning: they are a lifeline, a way to position themselves.
She went to the Legislature, which was a wise choice to be motivated by people around her, but she never resigned. By the time she was in her 40s, she was tired of the double movements. She quickly stopped legislation and took classes at the Guignard Academy of Arts in Belo Horizonte. “There was there, I found freedom for the first time. I could do whatever I thought about it.” It was here that she was able to eventually call herself a musician, which she previously thought was just for someone she could attract.
Although she relies on her imagination, this confidence was not immediately circulated by the artistic planet that bordered Gomez. Providing her tools and matching her identity as a black lady, her work is often called a craft. Still, her willpower – “I haven’t had the name yet, both art and craft. I’ve actually been doing it” – in the mid-1990s and early 2000s she began organizing smaller gallery efficiency at Minas Gerais. In 2012, she performed her initial personal program with Mendes Timber DM, St. Paul’s Gallery and Global Station and maintained the pace.
