Born in Rio de Janeiro, 1982.
Lives and works in Rio de Janeiro.
Studied at Camberwell College of Art, where she got a master in 2008. She participated in art residencies such as Schloß Balmoral (Bad Ems, Germany, 2009), Carpe Diem Arte e Pesquisa (Lisbon, 2010), and Residency Unlimited (New York, 2014). She has exhibited her work individually in Rio de Janeiro, São Paulo, Paris, Lisbon, Milan and New York. Maria Laet has participated in group shows such as 33rd Bienal de São Paulo: Affective Affinities (Pavilhão Ciccillo Matarazzo, São Paulo, Brazil, 2018); Cosmogonies, au Gré des Éléments (MAMAC, Nice, 2018); Video Art in Latin America (LAXART,Los Angeles, 2017); La Vie Aquatique (Musée régional d’art contemporain, Occitanie/ Méditerranée, France, 2017); The Valise (The Museum of Modern Art,New York, 2017); Tangents (MSK, Ghent, Belgium, 2015); Encruzilhada (Parque Lage, Rio de Janeiro, 2015); Rumors of the Meteore (49 Nord 6 est – Frac Lorraine, Metz, France, 2014); Everydayness (Wyspa Institute of Art, Gdansk, Poland, 2014); From the Margin to the Edge (Somerset House, London, 2012); 18th Biennale of Sydney: All Our Relations (2012); Convite à Viagem (Rumos Itaú Cultural, São Paulo, 2012); and O Lugar da Linha (Museu de ArteContemporânea de Niterói and Paço das Artes in São Paulo, 2010). Her work is part of collections such as MAM, Gilberto Chateaubriand, Rio de Janeiro; Museu de Arte Contemporânea de Niterói; 49 Nord 6 est – Frac Lorraine, Metz, France; MSK, Ghent, Belgium; AGI Verona, Italy; Colección Patricia Phelps de Cisneros; and MoMA, New York.
Multimedia artist, Maria Laet's choice of materials and mediums avoid meaning, any codification of sense, bringing nearer the very episode of creation. In her own words, “there is an act, as a ritual, in which the first poetry of the work is condensed.” In her creative process, she uses candid objects, concrete, accurate, like a needle or that bear quality of elasticity or fluidity, such as gauze, balloons, thread. She also uses natural elements or substances, such as air, wind, sand, wood sticks, chalk, milk, whereby her poetics of creation can be homologized to creative dynamics of nature, in opposition to the codified means of established artistic creation.