 I was raised in a very religious family. My father was a protestant minister, so me and my sisters, we spent a lot of time in the church when young. I always lived in big cities like Sao Paulo, London, and Rio, but in 2006, I decided to move away from Sao Paulo and go to Lensois in the heart of Bahia, in the heart of Brazil, to start a research about the local folklore and the traditions, the rituals, the processions. And this was my main, the first intent when I went there, but the second intent was to develop a site-specific work that could embrace the whole town. I want to paint the city, I want to paint Lensois inspired by the traditions, but not an embellishing project, but more like a belief confrontation one, in a sense. It took me two years to finish this project, and in the end of the second year, I was invited by some of the elderly in the community to refurbish the local chapel, the Chapel of Santa Lucia. So, neither the diocese or the mayor were taking care of the chapel because it was located in a really rundown area. I took it as a personal project and worked on it for two months. So when I finished, I kept on going there just to visit, and one day, I saw two old ladies going inside the chapel. I saw them on their knees, and with the rosaries in hand, they were praying to one of the images I had painted. For me, it was frightening and impressive to see the new dimension my work had taken inside that space. Because even though I'm not a believer, I knew that from that moment on, those images didn't belong to me anymore. They have been taken. So when I moved back to Sao Paulo in 2008, I started working in different medias like sculpture and also installations, and very inspired by symbology. The temple is a symbol. It's a symbol that can carry other symbols. So I decided to make a series of installations inspired by symbology, but in the form of temples. This is the first one in 2009. I made this installation at Masp, the Museum of Sao Paulo, and then also in Museo Afo Brasil, and in the Museum of Contemporary Arts in San Diego. I think my idea is to make a place of contemplation, not to reinforce any dogma, but to stimulate the opposite, to stimulate the critical thought. I have also worked some of these installations, some of these temples, in the public spaces. So last year I went to Portugal and to make two installations in Lisbon. And after traveling throughout the north of the country, visiting different workshops of craftsmen, learning some of their folklore and some of their sculpting techniques, I went back to Lisbon and did two installations in the streets, two temples. And then I held a performance there, inspired by the traditions I've learned in the north, and to do the masks and the costumes that my character would use using also the sculpting techniques that I've learned from the masters. Now I'd like to share my next project with you. You take place in the seaside of the states of Rio, not in touristic places, not at all, but in small fishermen villages. I remember when I arrived in Lenssoyes in the first two months, one day I was painting a mural and these two small kids came to me and they pointed to my bucket of paint and they said, what is that? I said, it's paint. And then they pointed to my brush and said, what is that? I said, it's a brush. They were like, ah. And then another kid, an older kid came and said, ah, what are you doing that? Why are you doing that? I said that because that's what I do. And he was like, is that political advertising? I said no, but at that moment I realized that they have never seen anyone like painting a mural or like any like mural in the street or anything. So what I want to do is with this project, I want to work within the community to insert art in their daily lives. And I want to work with their working tools. There are the fishing boats, but I also want to work in other surfaces like the houses, the walls, the boardwalk, collaborating to redesign the landscape. Thank you. Thank you.