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Lenora Lerrer Rosenfield was born and raised in Brazil. She teaches associated at the Institute of Fine Arts at the Federal University of Rio Grande do Sul in Porto Alegre, which is the southernmost state of Brazil. She had a scholarship from a Brazilian Research Foundation-Cnpq, to study conservation in Florence for three years, was an intern at Harvard University Art Museums for a year with a Kress Foundation Grant, and was a Fulbright Visiting Scholar at New York University for fifteen months.

Her PhD project involved searching for a plaster mixture that would be easy to make and use, and have the same characteristics as a traditional fresco. (Most of the components she uses are made for building construction purposes.) She paints on a non-woven textile support, which allows her to make flexible and portable frescos.

Lenora describes her work as research on fresco technique, history, materials and artistic expression. It is a metaphorical interweaving of elements drawn from art history, materials, aesthetic intention, and painting conservation, integrated into a non-woven physical support, like abstract ideologies being woven into a physical entity. This multidisciplinary combination forms a grid of influences and appropriations, bound together by the power of unconscious influences and by the conscious choices of the aesthetic elements. More than choices, those conscious influences are appropriations of the human. In this case the appropriations are not from other artist's images, but of art periods and human attitudes, using the body and it movements learned through dances as a reference. In 2012 she took her pos-doctoral degree at the Università degli Study di Udine, in the Centro Internazionale Alti Sudi Latino Americani, researching about Giambattista Tiepolo and Andrea Pozzo related to the different kinds of Grid, Quadratura and the Pixel from sec. XVl to contemporary art, as well working in her own paintings using synthetic frescos and egg tempera.

Photo: Paul Oratofsky