Painéis, 2024, Exhibition view, Galeria Cavalo, Rio de Janeiro.

Maroons (solitary column number 1), from the velho novo mudo mundo series, 2024

Twists and bindings of brown clothes on cedar rafters and accessories. 308 x 20 x 20 cm.

Maroons (solitary column number 1), from the velho novo mudo mundo series, 2024

Twists and bindings of brown clothes on cedar rafters and accessories. 308 x 20 x 20 cm. (Detail).

Bege A, from the Painéis series, 2024

Wooden plywood, felt, pins, paper cut-outs, monotypes and oil paintings on paper. 207 x 136 cm.

Caramelo A, from the Painéis series, 2024

Wooden plywood, felt, pins, twists of clothing, monotypes and oil paintings on paper. 207 x 136 cm.

All images courtesy and copyright of the artist and gallery.

Painéis, Ana Raylander Mártis dos Anjos’ first solo show in Rio de Janeiro at Galeria Cavalo, showcases three felt-covered panels in brown, caramel, and beige hues. Raylander aims to emulate notice boards commonly found in schools, hospitals, public spaces, and bureaucratic environments, which typically serve to disseminate information to students, workers, and service users. 

Within these panels, Raylander arranges a collection of monotypes and oil paintings on paper, affixed with pins crafted by the artist to match each panel’s color. In these artworks, the artist employs words, diagrams, and simple figures to construct a theoretical framework that underlies her practice. The juxtaposition of the paintings and monotypes mirrors the arrangement of notices on traditional boards at the same time that merges Raylander roles as an artist, researcher and educator, a framework that has evolved over the past eight years.

Ana Raylander Mártis dos Anjos lives and works in São Paulo, Brazil. Artist, educator, researcher, and clown, Raylander explores sculptures, installations, drawings, photographs, videos, and texts. She delves into the accumulation of her individual experiences, intertwined with collective experiences, to challenge various aspects of current social contracts. 

Utilizing symbols of bureaucracy and institutionalism from everyday life to formalize her artistic endeavors. She looks to the material and immaterial flows engendered within these contexts, where diverse information converges and overlays, giving rise to new needs and urgencies within specific dynamics and environments. Raylander offers a broad view that encompasses past, present, and future aspirations.