Verônica Alkmim França is a Brazilian born artist living and working in Stockholm and Brazil. Her works includes photography, installation, wearables, sculptures, embroidery, textiles, scenarios and compositions.

The artist researches and plays in distinct medias, and uses many ordinary objects in her sculptural works, such as domestic objects, natural seeds, ordinary sewing trims, and transforms them into creative representations of the female body and others significant approaches. This metaphorical use of everyday objects to speak of important issues is a central point of the artist’s production which results often in a visual narrative according to the thematic of the works.

Verônica is one of the pioneers in Brazil by the introduction of ”wearable art” in the early 90s, where her work has been extensively exhibited in museums and cultural institutions as the Palacio das Artes in Belo Horizonte; the Fundação Cultural in Curitiba; the Fundação Cultural Oswald de Andrade in Sao Paulo; the Casa das Rosas in Sao Paulo. The work brought   innumerable discussions between the fine line that separate design, art and fashion and inspiring emerging generations.

 

In Sweden she has received the support of institutions to present her work. Thus, in Europe and in Asia she has had exhibitions in venues such as the Barbican Centre in London; the Museu Nacional do Traje in Lisbon; the Kulturhuset, in Stockholm; the Dunkerskulturhus, in Helsinborg; the Gallery 32 in London, the Craft Bienal in Cheongju in South Korea; and the Anna Akhmatova Museum, in Saint Petersburg.

 

Her frequent travel between Brazil and Sweden has fostered in her a certain turning away from conventional artistic venues and has encouraged her independent mode of creation and of incorporating herself into her works as a condition. Always divided into territories, deprived of essential conditions, submitted to the time and logic of the market, Verônica express all of the subjects related to her own life, including ethical and aesthetic codes, nationality, and migration, and even to belonging or not belonging to groups that make up society. 

The artist fosters an analysis of the "state of the art", examined through the effects of the consumer society, of the rapid destruction of the environment, and of the stress on what is considered a modern society that increasingly covers itself in the illusion of completeness.

 

Currently, Veronica’s work is being structured and cataloged in order to make possible more choices in the field of art and culture.  Thus, exhibitions, events, and instances can be more constructive, creative, and interesting for the public.