The **Could-be-true tales** is a series of three pieces with hidden narratives on power and oppression. Each painting reflects abstract representations of concrete concepts involving exclusion, isolation, and elimination.

This is a type of time capsule project in which the stories behind the artwork will be revealed in the future for reflection.

Could-be-True Tales

By using my own photos, I developed a series of collages using various themes from book inspired images to a criticism to mass incarceration of Black and Latinx, and gentrification of historically Black neighborhoods. These pieces vary from 8”x10” to 22”x28”. Most were created between 2021-r2023.

Collage 1

_Dark Forest_ is part of a series of three nature-inspired pieces produced in the summer of 2024.

Dark Forest

_Shore_ is part of a series of three nature-inspired pieces produced in the summer of 2024.

Shore

_Placid_ is part of a series of three nature-inspired pieces produced in the summer of 2024.

Placid

**The Chair** was part of the show _Abstract-Ed_ (2024). In the three pieces which are part of a series I called The Living Room, I practiced de-figurative versions of mundane objects and scenes. I intended to abstract form to its pure essence.

As a child who draws stories and makes sense of their visual representations, I aimed to experiment with the freedom to play with flat lines and shapes to create alternative meaning for objects that emerged intuitively during the process.

The posterior analysis of these pieces led to associations of symbolisms with feelings and emotions, which translated to simplified versions of re-invented volume-_less_ objects. All is part of tentatively responding to the question: _Can real life be simplified?_

The Chair (The Living Room)

**The Fireplace** was part of the show _Abstract-Ed_ (2024). In the three pieces which are part of a series I called The Living Room, I practiced de-figurative versions of mundane objects and scenes. I intended to abstract form to its pure essence. 

As a child who draws stories and makes sense of their visual representations, I aimed to experiment with the freedom to play with flat lines and shapes to create alternative meaning for objects that emerged intuitively during the process. 

 The posterior analysis of these pieces led to associations of symbolisms with feelings and emotions, which translated to simplified versions of re-invented volume-_less_ objects. All is part of tentatively responding to the question: _Can real life be simplified?_

The Fireplace (The Living Room)

**The Piano** was part of the show _Abstract-Ed_ (2024). In the three pieces which are part of a series I called The Living Room, I practiced de-figurative versions of mundane objects and scenes. I intended to abstract form to its pure essence. 

As a child who draws stories and makes sense of their visual representations, I aimed to experiment with the freedom to play with flat lines and shapes to create alternative meaning for objects that emerged intuitively during the process. 

 The posterior analysis of these pieces led to associations of symbolisms with feelings and emotions, which translated to simplified versions of re-invented volume-_less_ objects. All is part of tentatively responding to the question: _Can real life be simplified?_

The Piano (The Living Room)

This work is part of a series in which I revisit a conversation about perspectives. In these two experiments, I engage the viewer from two distinct points of view. In **Fisherman View**, the viewer is positioned in the fisherman boat, while in View from the Shore, the viewer contemplates the fisherman boats from land. 

The pieces are also part of a larger reflection on climate change. The dark and earthy color palette of both views anticipates a future where nature may look significantly different. In this post-global warming premonition what is left is the resemblance of a seascape where the heat distorts the view and life insists in continuing to exist in a sea of putrid water contaminated by chemicals and animal remains.

Fishermen View

This work is part of a series in which I revisit a conversation about perspectives. In these two experiments, I engage the viewer from two distinct points of view. In Fisherman View, the viewer is positioned in the fisherman boat, while in **View from the Shore**, the viewer contemplates the fisherman boats from land.

The pieces are also part of a larger reflection on climate change. The dark and earthy color palette of both views anticipates a future where nature may look significantly different. In this post-global warming premonition what is left is the resemblance of a seascape where the heat distorts the view and life insists in continuing to exist in a sea of putrid water contaminated by chemicals and animal remains.

View from the Shore

I produced this work in a live paint event in October (2023). This is an abstract representation of empty spaces promoted by war and destruction. The two light cubic forms are the only pieces left in a scenario of darkness. Everything else resembles the shadows of what no longer exists.

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Maria Leite