Portuguese artist Joana Vasconcelos is challenging traditional narratives surrounding women’s art by emphasizing joy and scale over themes of pain and suffering. Known for her monumental sculptures that incorporate domestic crafts such as needlework, Vasconcelos creates strikingly large, vibrant installations that blend intricate detail with bold presence.
Born in Paris in 1971 into an artistic family, Vasconcelos has established herself as a leading figure in contemporary Portuguese art. Her work, which often recalls the grandiosity typical of male artists like Jeff Koons and Christo, frequently repurposes domestic objects to create oversized sculptures. Among her best-known pieces is The Bride, a six-metre chandelier crafted from 14,000 tampons, showcased at the 2005 Venice Biennale. Other notable works include Coeur de Paris, a giant revolving heart installed in Paris for Valentine’s Day 2019, a 12-metre ceramic wedding cake at Waddesdon Manor, and an eight-metre engagement ring composed of golden car rims and crystal whisky glasses displayed in Atlético FC’s stadium.
Currently, Vasconcelos is exhibiting “Venus” at Lisbon’s Museum of Art, Architecture and Technology (MAAT) as part of the museum’s 10th anniversary celebrations. The exhibition places her exuberant installations alongside the legacy of Italian fashion house Valentino, highlighting her use of decoration, scale, and color. Among the featured works are Marilyn, a three-metre sculpture of stilettos made from stainless steel pots; Garden of Eden, an immersive maze inspired by Chartres Cathedral; and Venus Valkyrie, part of a series of abstract hanging pieces named after Norse warrior goddesses. Vasconcelos reinterprets these figures with a softer, more refined aesthetic in contrast to the traditionally martial and masculine portrayals popularized by Richard Wagner.
Vasconcelos is outspoken in her critique of the common tendency for women’s art to focus on trauma or suffering. Citing a recent exhibition by Tracey Emin, she expresses fatigue with this recurring theme, advocating instead for representations of women’s experiences infused with delight and exuberance. “I’ve had enough,” she says, rejecting the notion that female expression must be rooted in pain. Drawing on the advancements made by previous generations of women artists, she aims to present an alternative that celebrates vitality and joy.
Her collaborations with high-profile fashion brands and corporations, including Dior and Marina Rinaldi, underline this approach but have occasionally sparked debate about the intersection of art and commercialism. In 2012, Vasconcelos became the first woman invited to hold a solo exhibition at the Palace of Versailles, where she famously transformed a Bell 47 helicopter with gold leaf, Swarovski crystals, and ostrich feathers in a work that symbolized both grandeur and feminine freedom.
Through her bold, monumental sculptures and vibrant visual language, Vasconcelos seeks to carve out a space in art history defined not by suffering, but by celebration and monumental beauty.