Following its debut at Collectible Brussels 2026, BS Galleria extends Patricia Faragone’s solo exhibition in its Brussels venue, expanding the dialogue between glass, memory, and material experimentation through the inclusion of four additional works.

While the presentation at the fair focused on the Tutti Frutti and Tutti Frutti Goes Beyond series, where blown and cast glass sculptures occupied Brazilian modern furniture as sites of encounter between function and imagination, the Brussels exhibition broadens the scope of Faragone’s practice. The new works reveal an artist increasingly interested in the migration of gesture across materials, scales, and disciplines.

Glass remains her central medium, yet its language unfolds in unexpected directions. A vintage hand-painted Gucci blazer becomes a singular site of artistic intervention, transforming a garment associated with luxury and fashion into a unique object situated between wearable artifact and pictorial surface. The piece extends Faragone’s ongoing investigation of ornament, affection, and personal memory, while introducing the body itself as a potential site for the work.

Alongside it, a series of small hand-sewn glass sculptures explores the relationship between fragility and adornment. Individually crafted and assembled through textile techniques, these intimate works operate between jewelry, object, and sculpture. Their scale invites close observation, revealing the artist’s sensitivity to gesture and the poetic possibilities contained within small acts of making.

Together, these additions reinforce a recurring theme throughout Faragone’s oeuvre: the transformation of everyday forms into carriers of imagination. Whether expressed through glass that recalls candies and desserts, through furniture reimagined as exhibition architecture, or through garments and ornaments altered by hand, her works challenge conventional distinctions between art, design, craft, and fashion.

The Brussels exhibition proposes a continuous movement between object and memory, permanence and delicacy. Across different materials, Faragone constructs a visual vocabulary in which color, humor, and technical mastery coexist with a profound sense of affection. What emerges is a body of work that does not seek to separate disciplines, but rather to reveal the fertile territory that exists between them.

In this expanded presentation, BS Galleria invites visitors to experience Patricia Faragone’s universe beyond the context of the fair, allowing the works to unfold within a domestic setting where sculpture, furniture, fashion, and ornament become part of a shared narrative.

BS Galleria Brussels presents Tapestries in Choreography, a solo exhibition by Brazilian artist Dedéia Meirelles. Bringing together four new works created especially for the occasion, the exhibition marks the artist’s first presentation in Belgium and offers a reflection on the intersections between textile art, sculpture, installation, and functional objects.

A self-taught multidisciplinary artist, Dedéia Meirelles has developed a practice centered on reclaimed materials, embroidery, stitching, and hand-sewn constructions. Her work transforms threads, textiles, grids, mesh, and found elements into three- dimensional structures that expand the traditional boundaries of textile art, occupying space as sculptural presences.

In Tapestries in Choreography, the artist presents works conceived as bodies in relation. Two of the pieces incorporate functional elements, approaching the realm of furniture, while the others assume a more sculptural character. Together, they establish a spatial choreography in which forms, volumes, and textures are articulated through a continuous dialogue between contemplation and experience.

The exhibition title stems from the idea that choreography does not belong solely to the human body. As in ballet, where each movement guides the dancer toward an artistically calculated destination, Meirelles’ works are arranged according to relationships of proximity, balance, and displacement. The pieces engage with one another and with the architecture of the gallery, creating an open composition capable of assuming new configurations and meanings with each installation.

Questions related to the feminine sphere, belonging, social dynamics, and human connection run throughout the artist’s practice. The act of stitching, joining, and interweaving materials becomes a metaphor for the ties that connect individuals, stories, and different social contexts.

Occupying BS Galleria Brussels, a gallery dedicated to collectible design and functional art, Dedéia Meirelles presents a body of work that resists rigid categorization. Her practice moves fluidly between art, craft, design, and sculpture, reaffirming the power of hand-making as a contemporary artistic language.