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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.


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copyrights copyrighted art

All rights reserved - NAZA -1990

"I paint an abstraction in a realistic way, or a realism that has been abstracted,"

Artist Statement

I am infatuated with the synergy of opposing views. To explore this, I consciously pit abstraction against realism, allowing them to coexist and collide within a single work.

In my oil paintings, I work from both directions. I may begin with a purely abstract field and gradually coax out recognizable forms—elements of nature, events, or living beings. Other times, I start with a sharp realism and, while the paint is still wet, I aggressively abstract it. My goal is to capture not just a subject, but the visceral energy of its interaction with the environment. Each artwork is not just a static image; it is an "event."

My physical process is one of precision and optical depth. While my oil paintings possess a subtle, minimal physical texture, I use light and shadow to amplify this surface, creating the illusion of much deeper, more rugged terrain. By mastering the contrast between the actual paint and the perceived depth, I make the work appear far more textured than it is—inviting the viewer to question the boundary between the physical canvas and the visual experience.

This philosophy carries over seamlessly into my digital works. Using virtual brushes, I hand-paint every stroke, meticulously selecting the pressure, transparency, and shape of the mark. I reject automatic filters, glows, and shadows, opting instead to build the image from the ground up.

Whether working in oil or digital mediums, my hand and heart remain the same. I place my subjects within their background rather than in front of it, blurring the lines until the final piece is guided entirely by emotion. This is the harmony of opposites.

stolen artwork
Stolen artwork
If you see this painting anywhere, please, send us an email to [email protected]
lady in the garden painting
A TOUCHING STORY

Back in the mid 90s I had my website (www.naza.com) built. However, at that time, no one knew how to attract visitors to their websites or how to build an email list of prospect clients for their business.  The most common comments that I got when I told people that I had a website were: “what is that?”, I do not have a computer”, and “I do not have access to the Internet  yet”. Later, those comments were substituted by “my son is the one who uses the computer”…

I decided to dig for any kind of tool that could help me spread the word about my website.  That was when I found the Yahoo Chat. I used to go from chat room to chat room cutting and pasting the same sentence: “You are invited to visit my art exhibition”. Some people followed me to the next room and started a conversation. They invariably went to my website. According to their comments, I would add them as my friends and made notes to myself to mark the potential buyers.

I made a lot of personal friends and collectors using that approach. One of them was Tim Hulings, from West Virginia. He hired me to paint his 90 year old mother in her garden.  At first, I was a little scared and suspicious. However, I decided to take the risk and fly to Washington, D.C., rent a car, and drive across mountains and the Shenandoah Valley, to the very end of the road past a little town in West Virginia. The road ended exactly in Mrs. Hulings front yard.

It was a beautiful sunny spring day. Next door, I saw another house with a very large front yard where horses were eating. I recognized the red barn that Tim had talked about in the chat room. The silence was complete.  Suddenly, I felt really scared. What if this was a trap, set up by some weirdo to get me in the middle of no were alone with him? The only safety precaution that I had taken was to give the directions to my whereabouts to my ex-husband, who lived in Arlington, VA. Having a cell phone made me feel safer.

I knocked at the door, but no one came. I yelled a few times, but nothing happened. I had come too long a way to turn back without doing my job. Since there was no fence, I went around the house to the garden. I remembered Tim telling me in the weeks that preceded my trip that he kept talking to his mother’s flowers asking them to stay beautiful and wait for me to get there before they died. Among such a variety of flowers, the life span of some of them was probably very short.

Then, I saw her. Mrs. Hulings was kneeling at a flower bed, next to a very old sheep and an even older dog. I introduced myself and told my reason to be there. She smiled and welcomed me. I asked her if I could take some shots of her while she was working with the flowers, and she said it was ok.

About thirty minutes later, Tim arrived. It was so cool to meet a chat friend for the first time!!!  After a little talk (he was in his lunch break), I asked him if I could paint his mother and in the garden, instead of only the garden. He agreed.  After a few minutes talking, I started my trip back to D.C. area, then, flew to Florida, where I did the painting, having as reference the photos that I shot.  According to a reporter who interviewed me later for the Sun Sentinel, the Hulings family told her that the painting had been the focus of a birthday party for my subject.

I lost contact with Tim after he changed his email. Those Yahoo chat days are long gone, but some of those virtual friends that I made in 1995, 96, and 97 became friends for life. Some became my collectors too.