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Nathalia Bertazi | Seem Both Distant And So Close
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Fine Art Print On Japanese Paper, Photoetching And Hand-Stitched Detailing, And Copper Wire Suspension System
Edition of
Dimensions (WxH): 96 x 196cm
Nathalia Bertazi (b. 1987, Brazil) is a London-based visual artist working across sculpture, installation, and expanded print. She holds an MA in Print from the Royal College of Art (2025).
Her practice investigates how relationships, identities, and forms of collective memory are held together through materiality. Beginning from the languages of printmaking and publishing, she has increasingly moved beyond the page, treating collecting, stitching, drilling, binding, and assembling as forms of thinking. Rather than producing images alone, she constructs physical systems where materials negotiate weight, tension, and proximity.
Found stone, aluminium pull-tabs, thread, metal, photographs, and printed matter become provisional frameworks that ask how things remain together without becoming fixed or complete. Print, in this context, is understood not simply as a reproductive medium but as a way of translating, narrating, and bringing disparate elements into relation.
Alongside her studio practice, Bertazi has developed a long-standing commitment to collaborative publishing through Lombada Collective and socially engaged projects in Brazil and the UK. Together, these editorial and sculptural practices investigate how meaning is produced through acts of assembling, holding, and continual revision.
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Fine Art Print On Japanese Paper, Photoetching And Hand-Stitched Detailing, And Copper Wire Suspension System
Edition of
Dimensions (WxH): 96 x 196cm
Nathalia Bertazi (b. 1987, Brazil) is a London-based visual artist working across sculpture, installation, and expanded print. She holds an MA in Print from the Royal College of Art (2025).
Her practice investigates how relationships, identities, and forms of collective memory are held together through materiality. Beginning from the languages of printmaking and publishing, she has increasingly moved beyond the page, treating collecting, stitching, drilling, binding, and assembling as forms of thinking. Rather than producing images alone, she constructs physical systems where materials negotiate weight, tension, and proximity.
Found stone, aluminium pull-tabs, thread, metal, photographs, and printed matter become provisional frameworks that ask how things remain together without becoming fixed or complete. Print, in this context, is understood not simply as a reproductive medium but as a way of translating, narrating, and bringing disparate elements into relation.
Alongside her studio practice, Bertazi has developed a long-standing commitment to collaborative publishing through Lombada Collective and socially engaged projects in Brazil and the UK. Together, these editorial and sculptural practices investigate how meaning is produced through acts of assembling, holding, and continual revision.