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YOLANDA FREYRE   (Iolanda Soares Freire Hinds)

Artist from Maranhão, has worked with visual arts since 1968. Graduated in Museology at University of Rio de Janeiro (UNIRIO) and got her masters degree in Theory of Arts at State University of Rio de Janeiro (UERJ). Also studied Social Sciences at Federal University of Rio de Janeiro (UFRJ), but has not finished the course. Took another course at École Nationale Supérieure des Beaux-Arts and at Saint-Charles Art Center in Sorbonne, Paris. Participated in international biennials; presented work in important galleries and institutions like the Modern Art Museum of Rio de Janeiro, National Museum of Fine Arts and European Art Galleries in Trento, Genoa, Brescia, Montpelier, London and in collective exhibitions as “Land in Sight – 500 years of Brazil” (Galerie Debret, Paris, France); “Identity” (The Brazilian-American Cultural Institute, Washington, DC, USA).

Yolanda Freyre

photo:  @roberto_bellonia

From 2003 to 2017 participated in seminars and courses about Psychoanalysis and Art, under the coordination of the Brazilian psychoanalyst Maria Teresa Palazzo Nazar (Lacanian School of Psychoanalysis, Rio de Janeiro).

Her work can be found at the National Museum of Fine Arts (MNBA), at the Brazilian-American Institute (IBEU), the Art Gallery SESC/Copacabana and with private collectors. Yolanda Freyre is referenced in the German Encyclopedia Saur Allgemeines Künstler-Lexikon, volum 45, page 8. Wrote, in 2006, the book “The artist’s Mirror”, published by Companhia de Freud ISBN 85-7724-012-6.


She groups her artistic process in five moments. Those have to be read and understood as non-linear, once her references present themselves organically. It’s not rare to observe the harmonious coexistence between her pieces, even when they are structured in different moments. The first moment is characterized by the paintings of mountains, the hydrangea, the chicken, and ritualized performances. In the second moment, the artist explores the quantification of color and light. In the third moment, she starts to abstract colors so that the material is showcased. In the fourth moment, she replaces the material’s density with depth, as a result of overlapping glazes. The fifth and present moment can be defined as the opening of rituals for actions, installations and performances, however without abandoning the painting, that is over different kinds of supports.

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