“The city does not tell its past, it holds it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning rods,the poles of the flags.”

— Italo Calvino, Invisible Cities.

As in Calvino’s palmistic reading of the environment, Liene Bosquê’s practice (Brazil; based in Miami) views territory as a body whose folds and textures guard the vestiges and memories of those who inhabit it. A multidisciplinary visual artist trained in architecture, Bosquê has built an international career structured around the notion of urban space as a living organism shaped by history, affection, and constant transformation.

In this new exhibition at La Cometa Miami, the artist presents a selection of projects that synthesize her research methodology on the mark of time. Highlights include her acclaimed project Citi Souvenirs—previously presented at prominent venues such as Cuchifrittos Gallery, NY, and the Hudson Valley Center for Contemporary Art (HVCCA), Peekskill, NY—in which she creates small ceramic sculptures and relief imprints that capture the textures, cracks, and grooves of the architectural fabric. The project, which has been in development for over a decade, invites residents of the host cities to press fragments of their inhabited spaces into clay, reminding us of the importance of dwelling in these spaces with greater attention. Another project that integrates the exhibition consists of several pieces developed through a process in which she records various urban objects using cyanotype—a 19th-century photographic technique based on light-sensitive iron salt emulsions that react to ultraviolet light, producing deep Prussian blue tones. Bosquê applies this process expansively, exposing photosensitive fabrics and paper directly to sunlight and ambient structures to capture cast shadows, latticework, and city contours, transforming natural light into an indelible testimony of urban life. This project was featured at institutions such as The Wolfsonian Museum in Miami (2026).

The gravitational core of the show centers on an unreleased project produced specifically for this exhibition. Starting with vintage postcards of the former Miami Stadium, Bosquê intervenes in the images by meticulously removing the stadium’s outline with a craft knife. This gesture carries strong conceptual weight, given that La Cometa’s gallery space stands today on the very grounds that once housed that infrastructure. By subtracting the building’s presence, the artist creates tension around Miami’s rapid urban mutation and confronts the viewer with the spaces we inhabit atop the invisible ruins of the past, questioning how modernity often erases the landscape to rewrite it. Additionally, Bosquê’s proposal in The Return of the Inca connects sculptural abstraction and textile language with the ancestral memory of the Andes, referencing Inca rope bridges and the quipu knotting system. Inspired by the ritual reconstruction of the Q’eswachaka Bridge in Peru, the work materializes weaving as an essential historical infrastructure of communication, record-keeping, and community cohesion. Through an abstract, minimalist language, the artist updates these ancestral technologies to explore how materials preserve knowledge and transform the cultural landscape. With this presentation, La Cometa offers a profound reflection on the fragility of the built environment and the limits of forgetting.

Liene Bosquê’s work functions as an exercise in contemporary archaeology, turning the gallery space into a site where remembering and observing go hand in hand—an invitation to  pause and question the hidden layers of memory lying beneath the surface of the city we walk every day and, most importantly, the places we envision and how we are going to inhabit them. Liene Bosquê is an architect from Mackenzie University in São Paulo (Universidade de São Paulo) and holds an MFA from  the School of the Art Institute of Chicago (SAIC). Bosquê’s installations, sculptures, site-specific projects, as well as socially engaged practice works have been exhibited in museums and galleries in the United States at MoMA PS1 in New York (2015), Museum of Contemporary Photography in Chicago (2013), Museum of Contemporary Art of North Miami (2020), Frost Art Museum (2022) in Miami, among other places. Her artworks were also included in international exhibitions in Brazil, Portugal, Italy, Turkey, and South Korea, at venues such as the Museu de História Natural in Lisbon (2007), the Museu de Arte de Ribeirão Preto (2006), and Sesc in São Paulo (2018).