The work and compositions which make part of the current exhibition are the artistic expression of a long, intense journey, meticulous and interesting, traveled along different routes towards an approximation with the complex themes of "life", "organism" and "cosmos". Shortly after concluding her degree course at the celebrated Fundação Escola Guignard in the city of Belo Horizonte, and after a study period at the Istituto per il L'arte and Restore in Florence, in the series Homo olympicus, Elizabeth Dorazio exhibited acrylic paintings on canvas, which featured the human torsos of athletes, particularly swimmers in swimwear, and which can be regrouped as diptychs, arbitrary and infinite. During this phase, the principle of deconstruction and reconstruction, with a view to reordering, is already an integral part of her work as a means of expression. It is a stage preceded by a comprehensive study of anatomy and the muscular system of the human body. During this period, Elizabeth Dorazio also began to paint on synthetic materials. With her quick thick brush strokes, the trunk of the swimmers is moulded onto shower curtains, establishing a direct link between the motif and the location of the painting. In 1998, with the spatial installation Mantra in Morumbi, a district in São Paulo, Elizabeth Dorazio makes her return to the all­encompassing motif of the cosmos and of the internal nexus that exists between all beings of the universe. This oil painting, which measures 3.20 x 5.40 m, was installed in the place of an altar from an ancient chapel reminiscent of a time when the city was founded. The energy attributed to the location and the expressive representative energy that emanates from this work seem to render the force of the masses of falling water and the restless foam almost palpable. Although the work portrays an instantaneous situation, the overwhelming impression is that of a permanent waterfall, accompanied by its respective acoustic backdrop. And so, due to its power or expression, the oil painting creates an internal backdrop ofsounds, and thus returns the mantra, a lingering identical tone, to the space and to the exhibition room, its original destination. In this manner, the human being is integrated ithin the eternal flow of time and space, and is supported by the infinite and manages to become conceived as part of a cosmic whole. The work carried out between 2005 and 2008 address the themes of "life", "transience" and "organism". In the works of the series Per mortem ad vitam, Elizabeth Dorazio uses oil paintings from the previous series Mundi maritimi, cutting them up into fragments and combining them through collage, with other anatomical- organic structures which are reminiscent, for example, of the venous system. In this manner she mounts a new picture on a screen that acts as a diffuse, watery background, painted in acrylics. In her compositions from 2006 onwards, Elizabeth Dorazio progressively elected a geognostic theme mostly using transparent materials that conduct the eye towards what is normally invisible to human beings. Geognosis ontological also makes part of these compositions, conceived in an infinite form and composed of several superimposed layers of transparent sheets of foil fixed to a background of Japanese paper, painted with diffuse watercolors that leave marks in the form of stains. Each of the transparent layers of paper displays fine lines that depict, as a motif, anatomical­organic structures. Each layer of transparent paper also contains cut­out openings, which allow a limited view of the underlying layers, so that, although the layers are superimposed, the overlapping papers with the drawings of anatomical structures become visible, also because of the translucent nature of the material.
From the beginning of her journey as an artist, Elizabeth Dorazio has followed this flow of ideas surrounding the complex themes described above, attributing them with a creative, artistic language of their own, through her relentless search for new materials and textures, and ever­differing levels of expression.

elizabeth dorazio