Using mainly iron and copper, Rebeca Carapiá’s work takes the form of sculptures, installations, drawings, and engravings, in which torsion, bonding, and approximation of these materials constitute an abstract calligraphy. With words as their starting point, Carapiá’s pieces inflate, bend, and slice language in an exercise to dislocate it from a linear and monolithic position. As such, her work shapes itself as a distinctive language, the result of the bond between body, terrain, memory, and knowledge stemming from the artist’s own experiences, as well as those imbued in the materials of the pieces.

Rebeca Carapiá had works commissioned by the 36^th Bienal de São Paulo Not All Travellers Walk Roads – Of Humanity As Practice (2025); by Instituto Inhotim, in Minas Gerais (2024), and the 38th Panorama da Arte Brasileira, promoted by the MAM São Paulo and held at the MAC USP, São Paulo (2024). Carapiá has also held solo shows in São Paulo in 2023, 2021, and 2020, the same year the artist participated in Pivô Satélite, São Paulo, Brazil.

Carapiá has also been  participated in the 3rd Frestas – Trienal de Artes, at the Sesc Sorocaba (2021), and in the  Valongo International Image Festival, Santos, Brazil (2019), in addition to group shows at institutions such as Sesc Pinheiros, São Paulo, Brazil (2024); MAC Bahia, Salvador, Brazil (2024); MAM São Paulo, Brazil (2023); Lunds konsthall, Lund, Sweden (2022); Museu de Arte do Rio – MAR, Rio de Janeiro, Brazil (2022); Solar dos Abacaxis, Rio de Janeiro, Brazil (2022); MAM Bahia, Salvador, Brazil (2022); Instituto Tomie Ohtake, São Paulo, Brazil (2022); Pinacoteca de São Paulo, Brazil (2021); and Instituto Moreira Salles –  IMS, São Paulo, Brazil (2021). Her works are featured in the collections of the Instituto Inhotim, MAM Bahia and the Pinacoteca de São Paulo, Brazil.