In the last four decades, her artwork has embraced several mediums and seeks to highlight memory, identity, women issues and social justice while consistently challenges frontiers between artist and public and art and politics.
[1] Is an on-going cross-disciplinary sensorial project considering the olfactory as protagonist among other typically dominant components in contemporary art such as video, sound, photography, book-art and installations.
Each artwork represents a page from the diary such as URUKU - the forgotten disciplines, Passages Archived 2020-08-06 at the Wayback Machine, Shards, Glass Ceiling, Affectio.
The next room was occupied by the corten steel and glass sculpture Marielle Franco (1979-2018) and six original smells: Anoxia, Lacrimae, Barricade, Dust, Pepper and Queen of the Night.
The scents in this book have their origin in texts by six writers created from the memory of a forgotten smell left in wineglass shards at the moment of breakage.
It is trapped in volatile molecules inside the fibers of the handmade paper, produced at the Universidade de Brasilia, to preserve the scent and ensure that it emanates slowly when touched.
The installation Shards was presented in Center for Book Arts, New York and in Casa da América Latina, Universidade de Brasília, Brazil.
Using her notorious silkscreen printing that Carvalho is known for, it features a young girl at the top of the wearing only underwear with soldiers underneath her in military clothes and guns.
This collaborative piece was one out of six panel installments discussing themes of rape and intervention that also featured the works of other artists including Catalina Parra, Paulette Nenner and Nancy Spero.