Gê Viana’s work emerges from the streets and collective spaces, weaving together historical archives, material culture, oral memory, and personal experience to compose insurgent visual narratives. Her collages—both digital and manual—along with photomontages, paintings, lambe-lambe posters, and spatial interventions operate as “branches of time,” as the artist names the connections she forges with her ancestral roots. In this sense, her practice is deeply shaped by Afropindoramic identity and the culture of Maranhão, acting in direct confrontation with colonial records—records that are not erased but rather appropriated and reimagined as gestures of resistance and subversion. Through this process, the artist mobilizes signs to reprogram Brazilian social imagination, working within spiral temporalities where past, present, and future intersect.

Drawing inspiration from community practices, the liturgies of terreiros, street rituals, and the inventions of popular culture, Gê Viana brings together ancestry, spirituality, and historical critique to establish an imagetic battleground where new energies are inscribed over the marks of colonization. More than shedding light on historical oppressions, her work proposes the creation of images capable of transforming worldviews, celebrating the vitality of life forms and opening pathways that are more prosperous and energizing.

Her solo exhibitions include: 36th São Paulo Biennial: Not Every Wanderer Walks the Roads – On Humanity as Practice (2025, São Paulo, Brazil); Acts of Revolt: Imagining Another History (2022, Palacete Princesa Isabel, Santa Cruz, Brazil); Removing the Sun from the Heads, a Prayer of Images (2022, Galeria Superfície, São Paulo, Brazil); Parity (2022, Sesc Art Gallery, São Luís, Brazil). She has also taken part in group shows and other projects such as: Acts of Revolt: Other Imaginaries of Independence (2022, MAM Rio, Rio de Janeiro, Brazil); Necrobrasiliana (2022, Galeria Vicente do Rêgo Monteiro, Joaquim Nabuco Foundation, Recife, Brazil); Brazilian Histories (2022, MASP, São Paulo, Brazil); Necrobrasiliana (2022, Museu Paranaense [MUPA], Curitiba, Brazil); Frestas Art Triennial — The River Is a Serpent (2021, Sesc Sorocaba, Sorocaba, Brazil); PhotoIreland Festival (2020, Rathfarnham Castle, Dublin, Ireland); 36th Panorama of Brazilian Art: Sertão (2019, MAM-SP, São Paulo, Brazil). She was awarded the PIPA Prize in 2020.