Dream Box is pleased to announce Resilience, a group exhibition of five international female artists who reside in New York.

Resilience is an all-female art exhibition featuring five Brazilian artists living in New York City. Conceptualized and presented by the creative lab Dream Box and designed to happen at Emma Thomas Gallery, the exhibition will run from December 8, 2016 through January 11, 2017, with an opening reception on December 8  from 6–9pm. Curated by Juliana Leandra, the artists featured in the show are Fernanda Carvalho, Liana Nigri, Liene Bosquê, Maíra Senise and Vitoria Hadba.

By "resilience," the exhibition investigates cultural aspects of human exertion given that the five participants are women, artists and immigrants. These artists work across a variety of visual arts media. They create art in different forms and formats, including painting, drawing, sculpture, installation and photography, which arises from the links between adaptation, creativity and survival in a foreign land.

Invoking the endurance of living in a foreign context while nurturing a commitment to art, the exhibition Resilience is curated by Juliana Leandra, a NY-based Brazilian-born independent curator who runs Dream Box, mounting creative collaborations with international artists. The exhibition features a text written by Courtney Smith, a Brooklyn-based artist with both US and Brazilian roots, incorporating fragments from short, written accounts she solicited from each artist.

Resilience is concerned with distilling the present moment of these artists’ lives. The theme of the exhibition has been explored in depth throughout the past months by means of a unique engagement between the artists and the curator. More attention has been given to every decision, challenge, accomplishment, or setback that takes place as the awareness of vulnerability within this unfamiliar world has become more acute.

These female artists exude resilience through artworks that forge possibilities of expression. The combination of patterns, colors, motifs, structures, materials, shapes and techniques reveals their progression and adaptation to an environment that little by little they absorb and turn into their source of strength.


When you see yourself as your physical body in outline moving against a background that does not belong to you, that is the effect of being lonely in a foreign land. You may find yourself traveling along busy streets, surrounded by people entering and exiting buildings and vehicles, transporting objects, exchanging words, yet your body is distinct and separate from all others. Against the sidewalks and storefronts of the foreign land, the contours of your being come into focus and you see the limits of your self, where you begin and where you end, all that is part of you and all that is not. Back where you came from, your body is indistinguishable from others. There bodies flow into each other even without contact. Invisible limbs link one to other so that you cannot tell where one ends and the other begins. There you are folded into the landscape and risk disappearing among all familiar things, living and constructed. In the new land your form affirms its integrity and from within you can watch it in motion.

Once you know yourself to be encapsulated in your body, now your only true home, you start to observe the effects of the outer world on its surface. Your path is full of obstacles and as you knock up against them you bruise. Your form repeatedly comes under pressure as you navigate your new surroundings; you are stretched, squeezed and dented at every corner. No hugs and kisses. But you observe in yourself a malleability that you never knew you possessed, how quickly you deform and reform, your contours unbroken. 

(Coming back to my apartment a pink note on my door with the careful handwriting of the property management agent, to let me know that the telephone company had delayed the installation of my telephone until the following Tuesday. Tuesday I stayed home but the doorbell did not ring. On Thursday a new pink note confirming re-scheduling for one week from the next Tuesday. One week after that Tuesday another pink note re-scheduling installation for the next Thursday. Over many months, the pink notes arrived one after the other and I pasted them into a notebook, one next to the other, then one on top of the other until the pages were layered and stiff. The phone company is confirming installation for next Thursday. The phone company was unable to install your phone on Tuesday and will re-attempt next week). 

From confinement in the self comes output. The loneliness of entire days without even hearing the sound of your own voice yields to industry. Your body starts producing material outside yourself, developing satellite bodies to accompany you; expanding your territory by making things to fill it. You become a heavier load to carry so you move less, sink deeper into your ground and keep working. You accumulate more and more material; you have many heavy objects to carry up to your 5th floor walk-up. You now have enough material to lay the ground outside of yourself. Making a new home feels like a daily battle. There is no time to be wasted and no time for patience. You free yourself to give yourself to your work. And you work to free yourself. You spread and occupy, use and incorporate your surroundings. As you expand, the outside approaches and the city creeps toward you. Your edges soften and blur, demarcations fade, surfaces are permeated and spaces are penetrated. Absorbing and absorbed, you can no longer detect your limits. You even miss the mix of fear and courage that propelled you in your loneliness, knowing it cannot be reproduced in this world. But you made it.

- Courtney Smith


On View: December 8th, 2016– January 11th, 2017
Opening Reception: December 8th, 6–9PM

Emma Thomas Gallery
319 Grand Street, 5th Floor
New York, NY 10002