Daniela Busarello
Daniela Busarello is Italo-Brazilian, living and working in Paris. Coming from a line of architects, she studied in Paris at the École du Louvre and the Beaux- Arts. Busarello has participated in exhibitions at the Oscar Niemeyer Museum and the solo show 12,4% at A.Galeria/Instituto Pedra Branca in Brazil; Espace Krajcberg, Abbaye de Maubuisson and Biennale d’Issy L’Eau Intranquille in Paris Area; Fondazione dell'Alberto d'Oro and Istituto Veneto di Scienze Lettere ed Arti in Venice, Art Basel Design Miami in Basel, PAD Paris and London. Her work is part of private and public collections as Mobilier National, Fondation Thalie, YSL, Instituto Pedra Branca, and Royal Collection of Jordan.
Daniela Busarello calls herself cosmos, water, dust, plant, placenta: atom. Meditating on the idea attributed to Nietzsche: Become what you are, her art consecrates the unity between human-nature-cosmos, imbuing itself with the memory of places—a spirit captured in the materials and conversations she harvests in sociological, philosophical and biological levels. “The witness-materials I harvest reveal the genius loci : water, plants, shells, minerals, soil, and conversations are living pigments, imbued with ancestral knowledge and experiences. True relics, they testify powerfully to the past, present, and future of a place, and of ourselves. Pictorial expression thus becomes a biological, neuroscientific, archaeological, philosophical, sociological, political, cosmological, and spiritual language. I thereby emphasize the indissociable unity between nature, the cosmos, and the human being,” states the artist.
Since 2020, Daniela has oriented her research toward Brazil and its essential role in the global balance, a position underpinned by the richness of its biomes, waters, and cultures. The Mar Verde series is an ode to the urban Atlantic Forest, while Cartas às Amazonas offers an ecofeminist and archaeological correspondence centred on the Amazonas River. In 2024, Daniela Busarello presented her Terræ.Spiritus project — the specific-installation for the 13th-century Abbaye de Maubuisson including two large paintings made with natural materials harvested from the Atlantic Forest in Brazil and from the Abbey grounds. In 2025, her oeuvres dedicated to the strength and poetic power of the Amazonian forest were presented as part of the Mar de Amor exhibition at Booroom Gallery, in dialogue with works by the 20th-century Brazilian architect, designer, and visionary José Zanine Caldas. The same year she opened the 12,4 % project at A.Galeria in Florianópolis, referring to the remaining percentage of the original Atlantic Forest. “12.4% is a wake-up call to return to Being-Love. To realise that Brazil's singular role in Global Balance is its diversity, its abundance of cultures and beliefs, of waters, forests, and miscegenation. To learn from our scientists, researchers, and ancestors how to regenerate Life,” Daniela says.
Daniela’s artistic choice is a metaphysical and abstract language, in order to provoke the observer to go beyond a pre-established knowledge. Daniela’s works become poetic contemplations on our place — both fragile and precious—within the grand narrative of life, advocating respect for all forms of life, visible and invisible, regardless of their nature, beliefs, gender, or nationality.
Elapsed Time is a series of works created by Daniela Busarello during the COVID-19 pandemic, while she was in different places and seasons (winters in Paris, autumns in the Luberon, and summers in the Mata Atlântica). During the lockdown, when ordinary social life was interrupted, long quiet walks became an opportunity to notice the flora underfoot and all around. Busarello began, almost subconsciously, to “draw closer” to nature, depicting plants at life size on large sheets of paper. Using water from the Esmerças River, she painted delicate branches and flowers at full scale, connecting them with fine lines, dots, and cutouts that form a circle. The wreath—over millennia a symbol of innocence, youth, prosperity, victory, and the endless cycle of life—became the central element of these works. Similarly, small watercolor drawings were made using water from the Ligurian Sea. These works are a kind of meditation on time, nature, and the continuous cycle of life, underscored by the beauty and fragility of plants.
Elapsed Time is a series of works created by Daniela Busarello during the COVID-19 pandemic, while she was in different places and seasons (winters in Paris, autumns in the Luberon, and summers in the Mata Atlântica). During the lockdown, when ordinary social life was interrupted, long quiet walks became an opportunity to notice the flora underfoot and all around. Busarello began, almost subconsciously, to “draw closer” to nature, depicting plants at life size on large sheets of paper. Using water from the Esmerças River, she painted delicate branches and flowers at full scale, connecting them with fine lines, dots, and cutouts that form a circle. The wreath—over millennia a symbol of innocence, youth, prosperity, victory, and the endless cycle of life—became the central element of these works. Similarly, small watercolor drawings were made using water from the Ligurian Sea. These works are a kind of meditation on time, nature, and the continuous cycle of life, underscored by the beauty and fragility of plants.
“Anima Mundi” is the concept of a world soul—an inner bond linking all living beings, just as the soul is linked to the human body. The Anima Mundi painting series was begun by Daniela Busarello in 2020, during the lockdown. At that time, although people were physically separated, they were connected through the internet, which heightened awareness of our global interconnectedness.
The works in Anima Mundi symbolize the world’s feelings in response to everyday events related to ecology, politics, science, art, and humanity as a whole. The artist chose the symbol of the heart to express the idea of the world soul. The heartbeat becomes a metaphor for consciousness, emotional and moral awareness, as well as courage, strength, and generosity.
The dimensions of her works are always meaningful. In Anima Mundi, a small canvas with a large heart inside symbolizes a living, vibrating entity striving to burst out of its confined space and reclaim life beyond it. This project underscores the unity of humankind and its emotional connection to events unfolding in the world.
