Marina Rheingantz’s work starts from the genre conventions of landscape painting. In dialog with art history and the Brazilian repertoire, her canvases intersperse short, sparse brush taps with thick layers of paint. They suggest wide imaginary spaces, in paintings suspended between abstraction and figuration. We are unsure if a brushstroke is a mountain or a paint smear, composing a vaporescent, oscillating spatiality. Observing her work from up close or from far away makes the total perception of her compositions vary; what seemed like the outline of a landscape, seen close up, reduces to brute markings and accumulations of paint with no symbolic remission. Currently, the artist has translated issues of her painting onto embroidery-based works, whose rhythmic, iterative techniques form pictorial elements cropping up on her surfaces, which range from small and medium formats to a monumental scale.