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Realizei a intervenção "Cabanyal" em 2015, durante meu estagio doutoral em Valência, na Espanha. Escolhi o bairro do mesmo nome — um conjunto histórico à beira do Mediterrâneo, ameaçado pela especulação imobiliária e pelo apagamento de suas memórias. Ao caminhar por aquelas ruas parcialmente destruídas, encontrei fachadas marcadas pela ausência, ruínas e muros que ainda guardavam traços de vida. Foi nesse cenário que inseri fotografias nas paredes,… buscando restituir simbolicamente algo do que havia sido perdido. Essas imagens eram presenças reativadas no espaço — fragmentos de histórias e afetos que querem permanecer. O gesto de colar, de recompor, tornou-se para mim uma forma de resistência poética diante dos estragos. Em "Cabanyal", a fotografia deixa de ser documento para se transformar em ato: um modo de olhar o invisível, de reatar o vínculo entre o lugar e sua memória viva.
As a visual artist Maristela Ribeiro formulates the concept of “visual fables” and proposes images in her photographic installations in museums and urban interventions, which not only represent, but also create open narratives; These cease to be wall objects and become immersive environments, expanding the notion of image for the body of the viewer. Next, the artist photographs these interventions or installations. Therefore, Maristela's photograph first appears as a plastic material, quase sculptural, on streets and in museums, to later return to two-dimensionality in galleries and collections. In her paintings, she frequently uses childhood themes or intimate universes that evoke reflections on everyday life. The whole of their work addresses social concerns and opens a dialogue, raising questions about gender, solidarity, vulnerability, exclusion, the everyday universe and other relevant topics in contemporary society.