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Gerchman, anartist, too, had won a grant, and she accompanied him north for the adventure.
She found herself isolated by language she didnt know English well and distracted by domestic responsibilities.
But the whole time she was here, she drew.
It was her outlet, and, looking back, her salvation.
Herfellow Brazilian expat artist, Helio Oiticica, suggested she carry a notebook to channel her thoughts.
He reminded me to take up the sketchbook I had begun working on before leaving Rio, she remembers.
But the city left a lasting impact on her.
Upon return to Brazil, she left Gerchman, reclaimed her career, and never gave it up.
And added was the fact that we were living the well-known crisis of seven years of marriage!
We still have one year more here before returning to Brazil.
Gracing the books cover is an image of a delicate flower gradually losing its petals.
Looking both ethereal and sturdy, her figures are demure, caught in in-between moments.
The subtle elegance of her lines suggests fluidity, a sense of evanescence like time itself.
In rare occasions, scribbles of words appear.
Even their native speakers avoided using them.
Among Latin American artists, Maiolino was the Italian, and a woman whose role was to housekeep.
In New York, Maiolino found work at a textile-printing workshop while fulfilling her domestic duties.
Her lack of English and limited social circle made her feel isolated, but drawing helped her express herself.
She found her missing words through winding lines.
A mummylike figure is wrapped around a twirling fabric, held by another person sitting on a couch.
Another work shows an enormous roll of paper surrounding a figure, almost like a suffocating blanket.
Is she the mummified figure entangled by her husband?
For her, they are not only artworks, but old friends, the witnesses of a past life.
I just dont know which ones, yet.
