Naza

BIOGRAPHY Naza is a Brazilian-born American artist whose work has been exhibited in prestigious museums and major galleries across North, Central, and South America, as well as Europe. She pioneered the style of "Abstracted Realism," a technique where she applies the principles of realism—such as volume, depth, and light—to abstract forms, or deconstructs realistic subjects through the lens of abstraction. Her work ensures that even the most abstract shapes possess a physical presence and weight that words cannot fully convey. From the outset of her career, Naza consciously avoided the study of contemporary trends to ensure the purity of her own vision. This unique voice has led her art into the private collections of world leaders and icons, including former Presidents Barack Obama, Bill Clinton, Fernando Henrique Cardoso, and Dilma Rousseff, as well as the Ayrton Senna Institute, Brigitte Bardot, Roberto Carlos, the Florida Marlins, and the West Point Academy. Her career has been documented and celebrated extensively by leading global media, including The New York Daily News, Museum and Arts Magazine, The Miami Herald, Veja, and Folha de São Paulo. Additionally, her life and artistic journey are the subject of a published biography written by the journalist Suzane Jales. Beyond the studio, Naza has been a highly active member of the South Florida artistic community since 1993. While her work often explores the human figure and the natural world, her true mastery lies in her ability to convey profound emotion through any subject matter. Her art remains a vehicle for environmental, scientific, and charitable advocacy, ensuring her global legacy is intertwined with her dedication to the world around her. Statement: I am infatuated with the way opposite views interact. I chose to oppose abstraction versus realism to convey that thought. When I am using oil on canvas, I either start a completely abstract approach, then, work towards making certain elements resemble recognizable objects, events, or living being or I start from the opposite direction: I quickly create a very realistic image, and, before it dries, I abstract it. The idea is to paint not only a certain subject, but also my own perception of what is happening to it, how it influences its environment, and how it is influenced by it. Thus, each artwork is like an event. There aren’t any extra layers, and the texture is negligible. The only tools used in the painting process re brushes and a piece of rag to wipe out certain areas. The only materials are oil paint and thinners. Most of the apparent texture of the final work is an illusion achieved with the use of light and dark. In both approaches, I follow nothing but my deepest feelings. When doing my digital artworks, I use virtual brushes. For each detail, I choose the size and the shape of the brush; how wet or how dry I want the stroke to be; how much pressure I want to use; how transparent; how soft, and other attributes. I don't use any automatic tools such as filters, glow, or shadows. From time to time, I add an illusion of texture which I, then, distort/enhance, whichever I choose to do at that time. Whether I am painting with oils or using the computer, my style is the same. I am still opposing abstraction and realism as the coexistence of opposite views; I continue placing the main subject within and mixed with the background, instead of in front of it; Ultimately, emotions guide me in the process of making art.