Mazi Moreto is a 25-year-old visual artist born in Nossa Senhora das Graças, a small municipality in the interior of Paraná with just over 3,500 inhabitants, and is currently based in Burgdorf, Switzerland. She holds a Bachelor’s degree in Design (Graphic and Product Design) from UTFPR – Federal University of Technology of Paraná, where she also worked as a carpenter. Her artistic trajectory began at the age of 15, when she started sharing body painting and visual works on social media.

In 2018, she took part in her first group exhibition, KAKTAI, produced and curated by Renata Mocellin, where she presented paintings, illustrations, and assemblages, in addition to performing her first performance. The following year, she participated in the second edition of the exhibition, KAKTAI KONTRATAKA, expanding her practice to installations and assemblages in wood and plaster. Since then, she has been actively engaged in the contemporary art scene, presenting performances and works in a wide range of exhibitions and events.

Among her performances are Gauve (2020), presented at Espaço 351 alongside Gustavo Barczak and Maria Eduardo; Eu Ti Sou, Tu Me És (2022), at PF – Casa de Estudos; Estopim do Desvencilho (2024), performed at Macro with Toni Monteiro; and Bronze Lunar (2023), at SOMA Galeria. That same year, she participated in the performance Ponto de Convergência at Tropigalpão Gallery in Rio de Janeiro, alongside artists Adriana Tabalipa and German artist Marita Bullman, using the Open Source methodology.

In 2025, she presented her first two international performances: The Shortest Performance Ever in Stuttgart, Germany, alongside Swiss artist Marck at Galerie Van Braunbehrens; and The Gathering, an Open Source performance organized by PANCH, held at Projektraum 54 in Basel, Switzerland, for the opening of Regionale, in partnership with Visarte Region Basel.

In 2024, she realized Pra Não Esquecer do Que Não Lembro, her most significant project to date, in which she acted as initiator, curator, producer, and artist. The collective exhibition of interactive works was conceived as her undergraduate thesis project and included her participation as a performer in an opening action of the same name — PNEDQNL. That same year, she performed Ceia de Anseios at Paradis and presented EQUINOX – same, but different, also based on the Open Source method, alongside Adriana Tabalipa, Eleonora Gomes, Toni Graton, Vini Maia, Christopher Jonathan, and Carina Weidle.

In 2025, she participated in the group exhibition Armadilha de Lagosta with the performance pedra mole, água dura.

Beyond performance, her artistic practice spans painting, sculpture, printmaking, photography, and other visual languages. She maintains a continuous production and develops a durational project in which she annually casts her face in plaster, creating a physical and tangible archive of her own aging.

Mazi Moreto considers herself a multidisciplinary artist — or, as she defines it, an “artist etc.” — constantly exploring new techniques and media to integrate them cohesively into her research. Her work is grounded in interactivity, memory, and affect, fostering immersive experiences and inviting the audience to actively participate in the construction of meaning.