Maya Weishof works mainly with painting and drawing on surfaces such as canvas and fabric. The artist uses fragments, distortions, caricatures, and hybrid creatures when conceiving images in which body and landscape reveal themselves as substance to each other. Weishof takes drawing as the core of her work as she builds it from memories, myths, and scenes that dialogue with the history of art or, more specifically, with the history of images. Her work tries to escape the premise of a narrative that is linear or closed in itself, expanding the figurative aspect to an imaginary of multiple semantic unfoldings.

Among her main solo shows are: O último dia do século, Millan, São Paulo, Brazil (2023); Fever Nights, Galerie Hussenot, Paris, France (2022); Headless: Maya Weishof, Kupfer, London, UK (2021); Primeiros Sóis, Auroras, São Paulo, Brazil (2020); Os substitutos, Boiler Galeria, Curitiba, Brazil (2019). Weishof participated in the 14th Mercosur Biennial, Porto Alegre, Brazil (2025), and in the group exhibitions Summer Fling, L.U.P.O., Milan, Italy (2024); Apéritif [apeʁitif], Palazzo Monti, Brescia, Italy (2024); Antes e agora, longe e aqui dentro, Museu Oscar Niemeyer – MON, Curitiba, Brazil (2024); Arte Atual – Por muito tempo acreditei ter sonhado que era livre, Instituto Tomie Ohtake, São Paulo, Brazil (2022); Female Voices of Latin America, MADC, Costa Rica (2021); Eletric Dreams, Nara Roesler, Rio de Janeiro, Brazil (2021); Contigere, Cisterna Galeria, Lisbon, Portugal (2020); Monster High, Olhão, São Paulo, Brazil (2020); Estamos Aqui!, Museu de Arte Contemporânea do Paraná, Curitiba, Brazil (2019); and A Vastidão dos Mapas, MON, Curitiba, Brazil (2017).

Weishof’s work is part of important institutional and private collections in Brazil and abroad, including Pinacoteca de São Paulo, Brazil; Museu Oscar Niemeyer – MON, Brazil; and Rennie Museum Collection, Canada.