Hariel Revignet Goiânia, b. 1995

  • Biography
    Hariel Revignet

    "Discussing the work of Hariel Revignet requires a keen eye. Her work immediately presents themes that are consistently relevant and contemporary—such as ancestry, care, and community—yet upon closer inspection, we perceive nuances that might otherwise escape our notice. Up close, her pieces point toward alternative modes of perception that transcend traditional approaches and the dominance of the visual sense in this artistic field. These are tactile works where one can feel textures, imagine new paths, experience, and engage the sense of smell—whether through the act of smelling or by perceiving scents."

     

    — Ana Paula Alves Ribeiro

    Hariel Revignet’s practice is shaped by an “autobiogeographic” investigation that weaves together spirituality, ancestry, and social critique through an expanded field of painting and installation. Her works evoke Afro-diasporic and Indigenous memories and symbols through images that operate at the thresholds between the visible and the invisible, matter and the sensorial, gesture and enchantment. In her production, the body, nature, territory, and the home are activated as living spaces of memory, fabulation, and belonging — where care is inscribed as a form of politics and affection as an ancestral force. Formed in Architecture and Urbanism, Hariel proposes the concept of Axétetura as an epistemological and sensorial shift that draws from Afro-centered cosmoperceptions and Indigenous enchantments to imagine other ways of inhabiting the world and creating images. In her work, roots, leaves, seeds, and cloths share space with portraits, orikis, and vibrational symbols, forming imagetic constellations in which each element carries agency, history, and power. Her painting is also a tool of reconnection: between art and ritual, subjective gesture and community, time and earth. A practice that asserts itself as offering, prayer, and calling.

     

    Her solo exhibitions include Benção, Tché Yazo (2023, Mitre Galeria, Belo Horizonte – Brazil) and Akewami, Prece da Terra (2021, Mendes Wood DM, São Paulo – Brazil). Her work has been part of group exhibitions and projects such as Dona Fulô e Outras Joias Negras (2025, CCBB, Salvador – Brazil), Nós, Arte e Ciência por Mulheres (2023, Paço das Artes, São Paulo – Brazil), Meu Corpo: Território de Disputa (2023, Galeria Nara Roesler, São Paulo – Brazil), Escalas Invertidas (2022, Miami Hispanic Cultural Art Center, Miami – United States), All Season Sanctuary (2022, d’Ouwe Kerk by Mendes Wood DM Gallery, Amsterdam – Netherlands), Dos Brasis: Arte e Pensamento Negro (2022, SESC, various cities – Brazil), Um Corpo no Ar Pronto Pra Fazer Barulho (2018–2019, Museu de Arte Contemporânea de Goiás, Goiânia – Brazil), AEAN Arquivo Negro (2018, Recife – Brazil), and Artistas Negras: La Herida (2017, Goiânia – Brazil).

  • Works
  • Exhibitions