As a child, Patrícia was fascinated by her mother's faceted glass pieces, by the way the facets divided the light into colors. This interest, combined with the paradoxes of gravity, rotation, and heat in glass, shaped her artistic trajectory—from design (bottles, lamps, furniture) to glass assemblages, further developed by a trip to Japan in 2018.

 

While Western gardens impose geometric order, Japanese gardening treats landscaping as art. It reinterprets this at home: a Zen-like, layered glass garden, constructed not with stone and water, but with playful materials reminiscent of amezaiku, the Japanese art of sculpting hot sugar, transforming the ordinary into the surreal. Its glass is never flat; it is enigmatic and layered, evoking Stieglitz's clouds and Oiticica's sensory penetrables. The formless precedes the form, echoing Francis Ponge's vision of giving the world the form of the most particular and asymmetrical things.