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Patricia Mado

"I was 15 years old when I learned the basics of design and then, seven years later, I had the opportunity to reap what I had sown. I was studying to become a zoologist when I got a part time job as an illustrator for a printing house. I dropped out of zoology and instead went to the School of Fine Arts at the Federal University.

"I am the daughter of Japanese immigrants but I feel completely Brazilian, hence my motivation to capture elements of national culture. I had the opportunity to live in Japan for 1½ years, where I published some illustrations in a few newspapers. I also was constantly visiting galleries and studios.

"A cultural aspect that has caught my attention and with which I identify is the use of moderation in my work. I don't like excess. Even in paintings, I appreciate empty spaces and small, discreet details.

"I started working with lithographs, but since graphically they are very similar to design, I switched to xylography, which shows the marks left by the artist as well as the wood's natural texture. My work searches to synthesize shapes and forms. I am aware that every day we are bombarded by myriad visual images, and that our brain is not used to distinguishing specific forms anymore. Through black and white xylographic prints, I manage to obtain a kind limpid synthesis that I would not be able to obtain with colors – these distract our sight from the essence and modify perception.

"I prefer to work with large pieces in which I can explore the graphics, revealing the ridges of the wood.

"I have been exhibiting my work since 1999 in various galleries and museums, including the art competition sponsored by the Brazilian-American Institute at Belo Horizonte University, for which I took third place.