Leda Catunda’s investigations combine pictorial and sculptural possibilities in the reprocessing of textile materials, mass-produced garments, imagistic citations and painterly effects. Catunda tackles the incessant flow of visual and informational stimuli in the contemporary landscape with hyperbolic, saturated compositions where incongruent pictures, colors and textures find common ground. Developed over a decades-long career, the artist’s mutant iconography is both seductive and overwhelming: stuffed shapes beckon toward the sense of touch, while the desire to apprehend a work’s total form leads us to contemplate it from afar. At the undecidable frontier between painting and object, Catunda’s pieces unbalance pretensions of taste and the autonomy of artistic disciplines, jamming art-historical quotations alongside logos and readymade graphics. Printed images are sourced from family photos or from the debris of the cultural industry in an associative system anchored to social and personal memory.

Among the artist’s recent solo exhibitions are  I like to like what others are liking, Sharjah Art Foundation, Sharjah, United Arab Emirates (2025); Paisagem Selvagem, Fortes D’Aloia & Gabriel | Carpintaria, Rio de Janeiro, Brasil (2024); Leda Catunda: EUFORIA, ICA Milano, Milan, Italy (2023); Geography, Bortolami Gallery, New York, USA (2022); Judy Chicago & Leda Catunda, Fortes D’Aloia & Gabriel, São Paulo, Brasil (2022); Leda Catunda & Alejandra Seeber, MALBA – Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires (2021); Projeto Parede | Paisagem moderna, MAM – Museu de Arte de São Paulo, São Paulo, Brasil (2019); I Love You Baby, Instituto Tomie Ohtake, São Paulo, Brasil (2016) and Leda Catunda e o gosto dos outros, Galpão Fortes Vilaça, São Paulo, Brasil (2015). She has also participated in the group shows Rituales del Cotidiano, Collegium, Arévalo, Spain (2024); Fullgás – Artes visuais e anos 1980 no Brasil, CCBB – Centro Cultural Banco do Brasil, Rio de Janeiro, Brasil (2024); PLAY, FITE – Biennale Textile, Clermont-Ferrand, France (2024); El Dorado, Fundación Proa, Buenos Aires, Argentina; Americas Society, New York, USA (2023); Re-materialized: the stuff that matters, Kaufmann Repetto, Milan, Italy (2023); and Utopias e Distopias, MAM-BA – Museu de Arte Moderna da Bahia, Salvador, Brasil (2022).

The artist has works included in important public collections, such as MALBA – Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires, Argentina; MOCA – Museum of Contemporary Art, Los Angeles, USA; Stedelijk Museum Amsterdam, Amsterdam, Netherlands; Fundação de Serralves, Porto, Portugal; Inhotim, Brumadinho, Brazil Fundación ARCO, Santiago de Compostela, Spain;  Pinacoteca do Estado de São Paulo, São Paulo, Brazil; MASP – Museu de Arte de São Paulo, São Paulo, Brazil; MAM – Museu de Arte Moderna de São Paulo, São Paulo, Brazil; MAM – Museu de Arte Moderna do Rio de Janeiro; Rio de Janeiro, Brazil; MAC-USP – Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brazil; MNBA – Museu Nacional de Belas Artes, Rio de Janeiro, Brazil; Toyota Municipal Museum of Art, Toyota, Japan; MAM – Museu de Arte Moderna da Bahia, Salvador, Brazil; Museu de Arte de Brasília, Brasília, Brazil; The Cleveland Museum of Art, Cleveland, USA; Museu de Arte Contemporânea de Niterói, Niterói, Brazil; MON – Museu Oscar Niemeyer, Curitiba, Brazil; MARP – Museu de Arte de Ribeirão Preto, Ribeirão Preto, Brazil; Museu de Arte Contemporânea do Ceará, Fortaleza, Brazil; Museu da Inconfidência, Ouro Preto, Brazil; Pinacoteca Municipal de São Paulo, São Paulo, Brazil; Museu de Arte Contemporânea de Americana, Americana, Brazil; Blanton Museum of Art – The University of Texas at Austin, Austin, USA; Acervo Contemporâneo UFF, Niterói, Brazil; Casa das Artes Miguel Dutra, Piracicaba, Brazil; Casa das Onze Janelas, Belém do Pará, Brazil; Centro Cultural UFG, Goiânia, Brazil; Centro Wilfredo Lam, Havana, Cuba and Fundação Padre Anchieta, São Paulo, Brazil.