My Story Let Me Tell It — Act IV, 2026
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My Story Let Me Tell It — Act IV returns the work to the body as volume, surface and inscription. In this act, Analize Nicolini presents a sculptural cast of her own body covered with wheat-pasted layers of overlaid images: money, phenotypic and genetic classification, alphabet, numbers, and visual references to braille.
Across the first three acts, the body of work moved through reflection, spatial organisation and public voice. In Act IV, the dispute returns to the body itself as a material field. The body is no longer encountered through a reflected statement, a distribution of reading heights or a filmed public reading, but as a sculptural surface physically covered by systems of value, naming, classification and legibility.
The overlaid images do not function as illustration. They operate as inscriptions placed onto the body’s surface, bringing together economic value, classificatory regimes, linguistic systems and modes of reading. Money, phenotypic and genetic classification, alphabet, numbers and visual references to braille evoke different systems through which bodies are read, named, measured, codified and assigned value.
In this act, one of the central tensions of My Story Let Me Tell It becomes materially condensed: the tension between narrating oneself and being read, classified or narrated by external systems. What appeared in earlier acts as statement, space and voice is here reconfigured as surface. The body becomes the site on which competing regimes of legibility are layered.
The work does not present the body as transparent evidence or as an object to be fully decoded. Its layered surface resists stable reading. Rather than offering a single identity or a unified image, the sculpture stages the body as a contested material field where value, visibility, classification, language and self-enunciation collide.
Within the broader body of work My Story Let Me Tell It, Act IV transforms self-representation into a sculptural and material dispute. The body does not illustrate the work; it becomes the ground upon which authorship, legibility and existence are physically inscribed.
Exhibitions
Insisting on Existing: Protocols of a Public Studio, solo exhibition, critical text by Kamilla Nunes, SOMA – People & Culture, Curitiba, Brazil, 2026.