Maya Weishof works mainly with painting and drawing on surfaces such as canvas and fabric. The artist uses fragments, distortions, caricatures, and hybrid creatures when conceiving images in which body and landscape reveal themselves as substance to each other. Weishof takes drawing as the core of her work as she builds it from memories, myths, and scenes that dialogue with the history of art or, more specifically, with the history of images. Her work tries to escape the premise of a narrative that is linear or closed in itself, expanding the figurative aspect to an imaginary of multiple semantic unfoldings.
Weishof graduated in Visual Arts at the Universidade Federal do Paraná – UFPR in 2016, she was selected for the artist residency program of Zaratan Arte Contemporânea in Lisbon, Portugal, and also for the Novas Poéticas, program that included Visual Arts students from all over Brazil. In 2017, the artist participated in the group of practical investigations in painting under the guidance of artists Regina Parra and Rodolpho Parigi in São Paulo and at the SESI Visual Arts Center, under the direction of the artist Ricardo Basbaum. In 2018, she participated in the exhibition project Confluências Poéticas at SESC Paço da Liberdade in Curitiba. In 2019, Weishof was selected for the artist residency program Pivô Arte e Pesquisa, in São Paulo. In the same year, she was invited by Cisterna Galeria in Lisbon to participate in the C-Lab artist residency program. In 2022, Weishof participated in the residency program at Cité Internationale des Arts, in Paris, France.
Among her main solo shows are Fever Nights, Galerie Hussenot, Paris, France, 2022; Headless: Maya Weishof, Kupfer, London, UK, 2021; Espelho Espanto, Simões de Assis, and Primeiros Sóis, Auroras, São Paulo, 2020; Os substitutos, Boiler Galeria, Curitiba, 2019; Há sempre um corpo que sobra, curated by Nathalia Lavigne, Zipper Galeria, São Paulo, 2018. She participated in group shows such as Arte Atual – Por muito tempo acreditei ter sonhado que era livre, at Instituto Tomie Ohtake, São Paulo, 2022; Female Voices of Latin America, MADC, Costa Rica, and Eletric Dreams, curated by Raphael Fonseca, Nara Roesler, Rio de Janeiro, 2021; Contigere, Cisterna Galeria, Lisbon, Portugal, and Monster High, Olhão, São Paulo, 2020; Dominó, curated by Camila Bechelany, Casa da Luz, São Paulo, and Estamos Aqui!, curated by Ana Rocha, Museu de Arte Contemporânea do Paraná, Curitiba, 2019; and A Vastidão dos Mapas, curated by Agnaldo Farias, Museu Oscar Niemeyer, Curitiba, 2017. Her work is part of important institutional and private collections in Brazil and abroad, including: Pinacoteca do Estado de São Paulo, São Paulo; Museu Oscar Niemeyer, Curitiba; Rennie Museum Collection, Vancouver, Canada.
