My history with design begins with my passion for the visual arts, music, and drawing. Counterculture and do-it-yourself have always appealed to me. I spent my adolescence immersed in punk rock and I think that fed me with great references: album covers, zines, collages. The fact I was always in record stores, second-hand bookstores, and concerts awash with that sense of self-management. A major influence was also the discovery of Brazilian art from the 60s, which had a very strong social and political character – in addition to being beautiful. Cildo Meireles and Hélio Oiticica became my favorite artists.

These ideas and aesthetics reverberate in me to this day. I remember that I was reading “Lina por Escrito”, during college, when a friend referred me to an internship position where he worked. It was a very happy coincidence: I went to work with Paulo Alves, an architect and furniture designer who worked with Lina Bo Bardi on one of her latest works. I worked with furniture design together with Paulo for 5 years, assisting him in some projects and creating some pieces of my own. One of the coolest things from that time was the work we did for SESC (including Pompéia, which is one of Lina's outstanding works).

Even today I am passionate about this area, but I was a little frustrated with some aspects of that industry. Works like the one by SESC were an exception. The biggest demand in the market was for straight, repetitive pieces for a highly elite audience.

I started the transition to Graphic Design, which seemed to me to be an area in which I could explore a more authorial trait in a more accessible product —that was my hope— and along came the opportunity to work together with Guilherme Xavier at Desenho Editorial. With Guilherme, I learned the basics of working with books. He was super kind and I am so grateful for everything he taught me. In 2017, I started working from home and doing freelance work for Desenho Editorial. This made me seek after my own clients and look at illustration a little more seriously. I started taking courses with Lourenço Mutarelli and DW Ribatski and, from there, I tried to include illustrations in the editorial projects I created.

That same year, I was very happy when I was invited to do an illustration for Stephen King's “A Hora do Lobisomem”, released by Companhia das Letras. I think this was very striking for me, because I felt that this authorial path I was looking for had some chance of succeeding. I started making some covers for small publishers or editorial projects of friends and that way I started to understand this media better.

I think that the most remarkable moment of my career so far was the creation of the graphic design and cover of Laranja Mecânica. It took a few months of research, redesign of typography and the search for this language for illustration. The initial (and super important) direction was from Daniel Lameira, editor at Aleph, who chose the cover scene and pondered this creation process. I was very happy when I was awarded gold in the editorial category at the 2019 Latin American Design Awards for this book project. A great achievement and a huge incentive to believe in myself.