About

Bio
Luiza Caetano is an interdisciplinary artist from Brazil residing in Athens, Ohio. She holds a BFA in Printmaking from Purdue University Fort Wayne and a minor in Art History, having completed one year of her studies in the University of Brasília, Brazil. She will be graduating with an MFA in Printmaking from Ohio University in the Spring of 2027. Caetano has exhibited in multiple shows at the Artlink Gallery, Fort Wayne, including the 44th National Print Exhibition (juried by Sachi Yanari-Rizzo, Curator of Prints and Drawings of the Fort Wayne Museum of Art) and the Artlink Midwest Regional Exhibition (juried by Joey Quiñones, Head of Fiber at Cranbrook Academy of Art, MI). She has also co-curated and installed many exhibitions over the years including Resilience and Resistance (co-curated) and Telluric (installed) by artist John Sabraw both at the Kennedy Museum of Art, in Athens, OH. Caetano’s work proposes a reevaluation of unequal power dynamics systems through the particular lenses of her Brazilian identity and experience as an immigrant in the United States.







Artist Statement
This is my seventh year living in the U.S., and I’ve never felt more Brazilian-Americanized. I can understand almost everything without subtitles when I watch movies, I love eating pizza for lunch, and superlatives have officially become a regular part of my vocabulary. The other day, though, I was talking with some friends about cheese and felt an overwhelming anguish about not being able to find Brazilian-tasting provolone here, and the fact that people have probably never tasted it either. It was one of those small, absurd moments that made me think about my existence as an immigrant and, more broadly, about epistemology: how do we know what we know?

The sources from which we gather knowledge are multiple and varied, and the way we understand the world is not always the same. As a Brazilian—and, I dare say, as an immigrant whose country bears the effects of colonization—we carry a certain anguish over the disdain toward our knowledge systems, but also a certain sorrow that the world doesn’t know what we know. Epistemology is not neutral and nor universal. Because of that, “tricking someone into listening” has become the main way I think about my practice: how can I exercise agency and defiance to make what has been overlooked difficult to ignore?
Through sculpture, performance, and printmaking, I like to create arbitrary games, put beliefs to the test, and make people uncomfortable with their position as bystanders in dynamics that normalize the idea of superiority of certain cultures and ways of knowing over others. I am interested in what happens when something familiar becomes strange, when assumptions are disrupted, and when viewers are asked to reconsider what they have accepted as natural or unquestionable. The center of my practice is to represent resistance.