Estar no caminho implica obrigatoriamente a arte de ir ou ficar. Dar um destino a si mesmo é inevitável e, seja ele qual for, carregará em si o peso de que é apenas através de nós que caminhamos. Nós e a estrada, nós e aquilo que escolhemos (ou não) carregar, nós e quem caminha ao nosso lado, nós e quem nos atravessa, nós e quem atravessamos. E para além do ritmo, velocidade ou direção, importa que nesta jornada eu destino-me, tu destinas-te e ele destina-se. Que esta decisão seja pessoal e intransferível.

Suddenly everything is out of place. Time and space have gained another dimension, and at this moment, no route makes much sense. However, even without seeing the destination, the desire is to keep going. Regardless of the disorder, life needs to flow, off the rails but within the path that guides the heart.

Petals. Sepals. Calyx.

Delicacy.

Rest. Sustenance. Shelter.

Resists.

Reproduces. Begins again. Multiplies.

Silence and light are a dance of emotions in a dark room. A symphony that not everyone can hear. It requires turning inward, silencing the world, and casting light into the deepest inner self to perhaps glimpse a shadow. It’s not about what is revealed, but what one wants to hide.

The city lights draw a seductive path that often leads to solitary places. The city and its crowds place us within ourselves, us, alone. The city and its cloudy days need solar hearts. Suns. Are you suns? The city calls for a flame that never extinguishes. A body that never sleeps. A life that keeps pulsating. The lights say it is possible. Ignite or ascend.

Travessia emerges from restlessness, discomfort, and the desire to overcome barriers and reach new landscapes. Above all, it is born out of a genuine longing to go beyond what is seen, as it intends not only to cross but to dive, to delve as deep as one can reach, freeing oneself from constraints and flowing with the tide.

We live in a time where everything suddenly became absence. All places, desolate. Unable to feature in any landscape, we observe from afar the ruins and debris as remnants of what once existed and at the same time a foundation to rebuild what remains of us.

Stop. Notice. Rest your gaze. Calm your soul. Renew your mind. Rethink life. Start again. But not without resting first.

This series was born out of a feeling of suffocation triggered during the 2020 pandemic. Suddenly, it was no longer safe to venture beyond the memories of what had been experienced. In an attempt to stay alive, we closed ourselves off. Meanwhile, life seemingly suspended, questioned: Is there life inside here, or is it only possible out there?

The artworks tell stories of resistance and permanence in the truest sense of the word. Fernanda’s photographs in this series capture buildings that remained standing after the great disaster of Hiroshima in Japan.

Works that pay tribute to the memory of cyclists through the Ghost Bikes project are also included in this series.

Anything that allows itself to resist will endure.

The artist Fernanda directs her lens to capture angles, shapes, and geometric compositions in buildings, in the series Lines, Trajectories, and Constructions.

In this space, lines that present distinct destinations, trajectories, and their predefined coordinates were recorded, rigid and symmetrical constructions.

With each point, a line is formed. With each line, a new image.

Ants and Ladybugs

With the help of a dear friend, the works “Misstress Ant Ge” and “Lady Bug Ge” came to life — both from paper and from nature.

I chose to capture the ants for their essence: a perfect community, surviving for about 130 million years, hiding in the nocturnal murmur.

Ladybugs, on the other hand, were photographed for their symbolism of love, balance, and luck — even in their metamorphosis.

Delicacy, detail, and effort define the Bugs series.

In the silence of trunks, the secret memory of time pulses.
Each groove is a trace of bygone eras, each hue a whisper of the sap that once flowed vibrant.

In this series, the lens draws close to textures as if listening to confidences: there are lines that ripple like tides, tears where light seeps timidly, crimson spaces that recall raw flesh — as if the trunk revealed not only its bark but also its entrails in intense red, opening breaches in the deep brown of the wood.

Each image is an invitation to reverie: faces insinuate themselves in the grains, eyes seem to emerge from the fissures, imaginary creatures lurk in the dance of colors.
It is living matter, woven from time, light, and shadow.

Black means power, mystery, sophistication. The sovereign king.
Shadowy path. Twilight. Sphynx. Unveil it.
One must know the shadow to be able to see the light.

Fernanda observed this vivid color throughout New York. The color caught her eye on the city streets, on the heights of the buildings, on the windows and walkways.

As such, she realized that yellow conquered the most beautiful scenarios of a lively and intense city.

The works recorded in Yellows of New York began with the curiosity to find the color clamoring for attention.

Beautiful sea.

beauty in the sea.

be and see breeze,

ease.

low tide.

guiding blue.

sail through

Summer of shimmering sea waves slide forward and backwards. The sea flows in between the sand and the foam. Up and down, amazingly, always anew. High tide. Full tide. Live Tide! Inflows, spreads, stirs. Disperses…

A series depicting peaceful scenery. An exploration of the world of those who launch out into life, in the air, in the sea.  Endless possibilities for those who live the moment, the now, the subtleties. The wind commanding the destination of the leaf, of the bird, of the boat, of the wandering soul. That slides away, slowly, detached, [un]o[ccupied].

In Coração Aberto, Todo em Flor, Fernanda presents flowers, in their abundant of simplicity.

The artist compares her works with the beauty and strength of a woman. Whether the flower is white, black or pink, nothing prevents it from growing and blooming.