Fernanda Froes
Born in Brazil, lives and works in Miami and Rio de Janeiro
Education:
BFA in Graphic Design and Industrial Design, UERJ-ESDI, Universidade Estadual do Rio de Janeiro, Brazil
MFA in Visual Arts, Miami International University of Art & Design, Miami, FL
O Processo Criativo/The Creative Process - Charles Watson at Escola de Artes Visuais Parque Lage
Languages:
Fluent: Portuguese, English, French
Basic: Italian, Spanish
Bio:
Fernanda Froes is a visual artist born in Rio de Janeiro, Brazil, and based in Miami. Her artwork explores the connections between ecology and colonization and how these elements intersect. She conducts research at the convergence of art, science, and history, with a strong focus on preserving the natural and cultural heritage of the Americas. Her artistic process often begins with iconographic research and evolves into painting, fiber art, and printmaking. Froes incorporates historical pigments like brazilwood, indigo, and mangrove, which connects her work deeply to her Brazilian heritage.
Froes holds degrees in Graphic Design and Industrial Design from the Universidade do Estado do Rio de Janeiro (UERJ) and an MFA in Visual Arts from the Miami Art Institute. She is also a member of The55Project, Bref Design & Art Paris, FAMA (Fiber Artist Miami Association), and Art Muse LA/Miami. Recently, Froes participated in solo and collective exhibitions in São Paulo, New York, Miami, and Paris, including events at the SoHo Beach House Miami, Consulate of Brazil in Miami, Espace Krajcberg Paris, Hôtel de Guise for Thema Art Fair Paris, MOCA, Ancient Spanish Monastery, Feria Clandestina, Parodi Costume Collection, MIFA – Miami International Fine Art, Epic Residencies & Hotel, Coral Gables Museum, Vizcaya Museum, among others. Since January 2024, she is part of the Red Thread Artist Studio in Coral Gables. Recently, she has been awarded the Miami Dade Individual Artists (MIA) Grant for 2024/2025.
Artist Statement:
My artistic practice and research explore the intricate intersections of ecology, colonization, and the preservation of the natural and cultural heritage of Brazil and the Americas.
These themes are approached through an interdisciplinary lens that blends art, science, and history—drawing forms the foundation of my creative process, expanding into painting, fiber, printmaking, text, and illustration. At each stage, I engage with the behavior and transformations of botanical species, investigating their cultural significance and the environmental legacies they carry within the context of colonial history and identity.
My recent studies focus on historical botanical dyes, particularly brazilwood, indigo, and mangrove. I explore traditional recipes for preparing Brazilwood and Indigo dyes, following historical methods and processes that reveal layers of cultural heritage embedded within each pigment. However, I take a more intuitive approach to Mangrove dye, as there is limited literature on pigment extraction from mangrove leaves. This experimentation reflects both a return to ancestral knowledge and a willingness to innovate within the gaps of historical records.
Each of these pigments, sustainably sourced from native plants, holds profound symbolism that reflects the legacy of colonial exploitation across Brazil and the Americas. brazilwood, for example, is historically linked to Portuguese extraction, marking one of the earliest instances of environmental degradation in Brazil. Mangrove and indigo, in turn, embody the botanical knowledge of native peoples and the complexities of trade under colonial rule.
Through this work, I aim to foster a deeper awareness of the importance of botanical heritage preservation and environmental consciousness. By illuminating the connections between nature and our shared history, I hope to evoke a sense of responsibility, inspiring viewers to reflect on the impact of ecological loss on cultural identity and to value the enduring relationship between humanity and the environment.