If a transformation occurs in Lyz Parayzo’s artistic production, it can be characterized as the collectivization of the body—shifting from a singular body to bodies, embracing the semantic richness inherent in such a plural expression. Departing from the centripetal focus on her own body, her recent series navigate the centrifugal force of numerous bodies, amalgamating, sharing, blending, and strategizing their existence. While latent critical axes persist, such as the intersections between identity, resistance, and power in contemporary art, Parayzo’s work is shedding its bellicose nature and venturing into the realm of affects that foster ruptures in everyday oppressions, creating possible worlds.
Entering the art world through strategic positioning, Parayzo initially stunned audiences with disruptive performances in institutional spaces. Later, she wielded sharp objects as symbols of defense against violence historically catalyzed by her dissident and racialized body. In the “Bixinhas” series, metal sculptures engage with Lygia Clark’s canonical “Bichos,” adding a layer of confrontation. Renamed and reinterpreted, these neo-concrete icons possess pointed structures that thwart full contact between bodies, rejecting the desire for audience activation and collectivization characteristic of neo-concrete art.
Transitioning from razor-like objects to magical creations, Parayzo reveals the diverse contributors shaping existence for dissident bodies. Originating from research on solidarity networks, especially those formed by women in various senses, her multimedia practice, “feitiço,” encompasses drawings, prints, sculptures, videos, and objects.
“Feitiço,” rich in Portuguese meanings, traces a history from Latin “facticius,” signifying something artificial. Adapted during Portuguese colonial expansion in 15th-century Africa, it gained magical contours, eventually leading to the term “fetiche.” This etymological association aligns seamlessly with Parayzo’s series. Sculptures molded from sex toys become talismans asserting the right to desire, while panties crafted with Ana Beatriz serve as magical objects enabling gender identity affirmation. These seduction tools aid dissident bodies in performing their identity, crucial for the quality of life of transgender women in Brazil. Rather than unveiling systematic oppression technologies, Parayzo blesses us with protective technologies and magical tools vital for her body and those walking alongside her.