Beatrice Arraes’ practice is primarily based on oil painting on canvas or wood. Whether depicting natural or urban landscapes, the images that Arraes creates are connected to memory and the interior realm. Her work amasses mnemonic gestures by incorporating fragments of hand-painted storefronts, lettering, signs, and posters, practices that seem to resist the passage of time and technological advancement. This temporal mismatch, caused by the archaic aspect of popular visual culture, is supplemented by the fragile process of trying to retain the world as an image through painting.

The techniques employed by Arraes, such as developing contrasts by overlapping and then removing coats of paint, or the incisions made in the wood’s surface, unveil the different moments that form the image. They can be interpreted as a type of archaeological prospection or excavation. Her works take form through a constant negotiation: between time, experience and memory, clarity and blurriness, as well as through the reinstatement of the dynamics of the environments the artist observes.

Beatrice Arraes holds a bachelor’s degree in Design from the Universidade Federal do Ceará, in Fortaleza, Brazil, and has also studied Fine Arts at the Universidad de Salamanca, in Spain. She held the solo exhibitions Table Game at Sea View Gallery, Los Angeles, USA (2024); and Passou uma nuvem at Galeria Leonardo Leal, Fortaleza, Brazil (2023). Among the group shows she was featured in are Existências paralelas – acervo em (des)construção, Pinacoteca do Ceará, Fortaleza, Brazil (2025); Midnight Steer Roping, Almeida & Dale, São Paulo, Brazil  (2025);Portals to Unwritten Time, Perrotin Gallery, Paris, France (2025); What are you looking for?, Société, Berlin, Germany (2025); Surge et veni, Millan, São Paulo, Brazil (2024); O nordeste não é só um lugar, Casa Gabriel, São Paulo, Brazil (2024); and Máscara, maré, memória, Lima Galeria, São Luís, Brazil (2023). Her work is featured in the collection of the Museu Nacional de Belas Artes, Rio de Janeiro.