BIO
Maria Constanza Ferreira is a Venezuela/American/Portuguese video and installation artist. Since the summer of 2022 she has been based in Porto, Portugal. Her works have been showcased internationally at places such as Times Square Midnight Moment, Artes- Mota Galiza, Konstpaus Stockholm, MoMA PS1, IndieLisboa Film Festival, and the Exploratorium Museum. In 2023 she was awarded a grant to the Instituto Andaluz de Ciencias de la Tierra to create a film to be exhibited at Casa de la Ciencia in Sevilla in the fall of 2023 and Parque de las Ciencias in Granada in 2024 . From 2019 to 2020, Ferreira was awarded a year-long residency in the chemistry laboratory of the Kahr Research Group at New York University, funded by the National Science Foundation of the United States. In 2020, she was the recipient of the GLAS Animation Festival Grant, the singular grant of its kind for independent animators in the United States, in addition to receiving two nominations for Vimeo’s Best of the Year Films. She earned a Bachelor of Fine Arts from the Rhode Island School of Design.
ARTIST STATEMENT
My art practice incorporates experimental film, installation, photography, and various forms of fine art and digital media to explore the imperceptible—images, objects, materials, and practices that are disconnected from every-day life, or that are so prevalent they become unseen. My work reimagines these forms and draws attention to their cultural and historical narratives usually through some interaction with technology. In several of my artistic projects, I utilize machines such as satellites, microscopes, scanners, computers and unique scientific imaging techniques to explore microscopic and macroscopic landscapes. I am interested in creating abstracted portraits of the material world to emphasize human’s disembodied and increseasingly fractured conceptualisation of the environment. Expanding beyond traditional modes of cinema, my installation works intertwine video with sculptural elements to recontextualize the moving image. I aim to emphasise the concept of film as more than just a temporal experience, but also as an object with its own physical significance. In my work, I play with the integration of light, movement, time, sound, and space to construct unfamiliar modes of representation by deliberately blurring the line between the physical and the abstract. Through a course of continuous fragmentation, destruction, displacement, and evolution, my artworks are products of abstraction where the imagery becomes strange to the viewer, including myself.
My art practice incorporates experimental film, installation, photography, and various forms of fine art and digital media to explore the imperceptible—images, objects, materials, and practices that are disconnected from every-day life, or that are so prevalent they become unseen. My work reimagines these forms and draws attention to their cultural and historical narratives usually through some interaction with technology. In several of my artistic projects, I utilize machines such as satellites, microscopes, scanners, computers and unique scientific imaging techniques to explore microscopic and macroscopic landscapes. I am interested in creating abstracted portraits of the material world to emphasize human’s disembodied and increseasingly fractured conceptualisation of the environment. Expanding beyond traditional modes of cinema, my installation works intertwine video with sculptural elements to recontextualize the moving image. I aim to emphasise the concept of film as more than just a temporal experience, but also as an object with its own physical significance. In my work, I play with the integration of light, movement, time, sound, and space to construct unfamiliar modes of representation by deliberately blurring the line between the physical and the abstract. Through a course of continuous fragmentation, destruction, displacement, and evolution, my artworks are products of abstraction where the imagery becomes strange to the viewer, including myself.