NEW YORK, NY.- Nara Roesler New York presents Mirroring Nature, a group exhibition bringing together works by Amelia Toledo, Brígida Baltar, Bruno Dunley, Cao Guimarães, Dávila & Portillo, Cássio Vasconcellos, Jonathas de Andrade, Laura Vinci, Manoela Medeiros, Marcelo Silveira, Gego, Amparo de la Sota, Maria Klabin and Gerardo Rosales. On view from July 16 through August 22, 2026, the exhibition considers nature not merely as a subject or landscape, but as the constellation of phenomena, forces, and forms of life through which the world is structured and continually transformed.
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In Amelia Toledo’s sculptures from the Dragão cantor series; Laura Vinci’s Folhas avulsas #1, Galhinho, and Muda; Manoela Medeiros’s phytoliths; and Marcelo Silveira’s fire-marked cajacatinga wood, mineral and plant matter meet in distinct states of transformation. Meanwhile, Brígida Baltar’s documentation of A coleta da maresia and the embroideries from A pele da planta, together with Amparo de la Sota’s hand embroidery Conexiones and Gego’s Drawing Without Paper #11, transform the surface into a space where time, gesture, and matter become embedded, evoking rhizomatic, synaptic, cellular or inner organic configurations.
Through photography, the exhibition brings together different scales of observation. In Clinâmen, Cao Guimarães revisits the notion of Cao Guimarães revisits the notion of ‘minimal deviation’ developed by the Greek philosopher Epicurus to explain the dynamism of atoms whereby small, unpredictable shifts in movement make the formation of worlds possible. In O espírito das águas, Jonathas de Andrade begins with the proximity between fish and fishermen to expand his investigation into the relationship between the human body and aquatic environments. Through themes of life, death, water, air and contact between species, the work reveals a world where affection and violence are intertwined.
In Viagem Pitoresca pelo Brasil #142, Cássio Vasconcellos revisits the tradition of artistic and scientific expeditions that documented a then little-known territory, questioning the ways in which the Atlantic Forest was framed and transformed into landscape. Nebula, an intricated and complex weaving by Davila & Portillo, reveals through its astrophysical title both the clouds of celestial dust and the starry night that modern artists transformed into an all-over modern visual language.
In visual arts nature does not only appear as an external world to be reproduced, but as a repertoire of materials, forms, and processes.
Natural forms and materials can be either figured as in in Troféu III by Bruno Dunley operating the very construction of the image. Either representational and mimetic as in Maria Klabin’s observations of fruits and landscapes or symbolic and allegorical in the works on paper Culebra y llantén, Icaco, Planta 1, Hormiga culona, Lineas cruzadas, Fence-A, and Frailejones, in which Gerardo Rosales brings together plants, snakes, and insects in images that combine observation, popular culture, fabulation, and a contemporary queer imaginary.
