Born on May the 8th in Paris 1970, Adriana enjoys from a very young age a strong passion for all things earth. Her creative mind and her boundless imagination allow her to make the most of her higher education. Her Master’s degree in archaeology and her graduate school diplomas in Geology and Fine Arts are just as many tools that she uses to further her own artistic expression. Always eager to learn more, she is currently working on her thesis on Fine Arts. But Adriana is also a teacher at heart and thus still finds time to pass on her own experience in sculpture and pottery to enthusiasts of all ages and backgrounds. Her fame first broke the borders of France with the sales of several of her works on Sotheby’s web page, back in 1999. Her first two exhibitions are staged at the Claude Lemand gallery (Paris) in November 2000 and December 2003. In the meantime, she also took part in several collective exhibitions in Paris. Her sculptures were seen at the Marie du VII arrondissement (Paris) in 2004, at the Carrousel du Louvre for the SNBA (yearly National Exhibition of Fine Arts). In 2006, she was again busy showing her latest sculptures at La Toupie, another Parisian gallery, while 2007 was devoted to her participation in a collective exhibition at the Galerie Visconti, still in Paris.

Numerous exhibitions follow in Paris and in the Hauts-de-Seine.

She has also exhibitions in Amsterdam, Tel Aviv end in Belgrade. A documentary was shot on her work by Goran Music and has been shown to the French institute of Belgrade in June, 2011. Recently it is in Dorothy’s Gallery in 11th Paris which represents her and exposes her sculptures. She also has some sculptures at the Art Gallery 15 quai Montebello in the 5th Paris. Good teacher, Adriana finds the time to dispense lessons of sculptures and potteries to the amateurs of any ages.

 Adriana is not one of those artists who begin their work without any project and build on their sole intuition. Each step is the result of a careful consideration. Her sculptures are like an excavation site where, scratching one layer after another while searching for veins of the invisible, one by one, she locates the elements of her own investigation, gathers them and unveils in its entirety a composition that once belonged to the archaeology of tomorrow.

       Adriana proclaims an artistic origin the traces of which are clear. Her lack of innocence is above all the result of her vast culture – or even her vast counter-culture. She asserts herself as an alternative to conformist modernism. Her point is not so much to present her work as a formal revolution, rather than to ascertain her singularity through a mental, possibly even literary, contribution. She writes her sculptures like Gustave Doré would engrave the pictures from Dante’s Divine Comedy, like Camille Claudel would give birth to her allegories. Her point is to illustrate whatever her hands are dictating her. It’s a three-dimensional writing process whose roots draw from the current political, sociological, anthropological events, as well as surrealism and science-fiction. Her work is a hypertext where signs and symbols influence each other, artistic plays of words. The references are many and often masked as they borrow to a wide range of domains from cinema to photography, from painting to literature. Invited by Adriana to her feast of clay, Salgado’s workers, Delacroix’s Death of Sardanapalus, the Bene Gesserit from Frank Herbert’s Dune or the idiot from Tarkovsky’s Stalker create a clash of ideas and concepts from which her finished work will rise. These bodies, these figures at last freed from the impotence of being, from the incubus and succubus of their inheritance, as they break the chains of their own fantasies.

       Even though the artistic completion remains at the heart of her work, Adriana always seeks to go further. Her work is first and foremost a reassessment of human nature.