YANKATU deepens the concepts of the relationship with artisans by promoting actions that go beyond design, establishing an exchange of knowledge and broadening the horizons of those who cross its paths

There are many ways to describe the impacts generated by Yankatu.


My passion for Brazilian craftsmanship enables me to connect people and works, facilitate the connection and communication between artisans and those who, like me, enchant with them, their life stories and their art. Always guided by a relationship of mutual respect and admiration, which contributes to the valuing of Brazilian identity.

Every time we get in touch with people, we receive something from them and offer something of us. Life is an eternal sharing of knowledges and when we understand the importance of each one of us for the life of all we can build a better world.




Xingu was born from an encounter between past and future, but is established in the present, proposing new ways of looking at tradition, with the respect and admiration that it deserves, while using technology to maintain communication in times of isolation.

This unprecedented protocol in the dynamics made Maria Fernanda find new ways of interacting with the village artisans. The weaving techniques classes that she would have in loco were transformed into recorded videos and sent over the internet; with the help of Kulikyrda Mehinako, an artist and one of the community representatives, Maria Fernanda developed a new color chart, extracted from leaves and barks of native trees found in the reserve, with the aim of rescuing the full potential of Xingu, counting on Maibe Maroccolo, in Brasília, to extract these shades and make dye pigments to color the cotton threads used on the mats produced by the Kaupüna village’s women.




Artisans of Brazil Campaign This campaign aimed to help and collaborate with various artisans in the country at the beginning of the pandemic, a time of difficulty, since the survival of the communities basically depends on the sale of their handicrafts and tourism. With cities, towns and communities practically closed to fight the spread of the Corona virus, income has disappeared and everyday life has become even more difficult. Therefore, the idea of ​​spreading love and art came, allowing the artisans to sell and guarantee a small income in some way during this period. We created a crowdfunding campaign with different values ​​of packages and varied arts from the artisans. The buyer could choose his package and which craftsman he would like to collaborate with and his craftsman would produce his art and send it to the buyer. With this project, we reached the value of R$ 10,000 in sales, all directed to the artisans!



Kwasawá Series


Kwasawá series was born during my research for Alma-Raiz Collection with the artisans of Urucuerá riverside community, in Pará, located in the eastern part of the Amazon rainforest.
Kwasawá, means knowledge in Nheengatu, an indigenous language. The series is a tribute to indigenous ancestry, presenting the Borari ceramics and their reinterpretations through the traditional tucumã straw braiding made by the artisans of the community and became an exhibition in October 2019, at A Casa - museum of Brazilian objects, as part of "Duas Crônicas" exhibition, together with authorial photographer Marcelo Oséas.
The work continues to evolve and should become an exhibition in Santarém, a city close to the community, to allow artisans and indigenous people who participated in the process to get in touch with their art and strengthen the value and respect for its origins and traditions.



ZANa Maria


I met Rosana Maria Alves in September 2014, in Muzambinho, Minas Gerais, and since then we have been part of each other's lives. The Ipê collection was the beginning of this beautiful relationship, launched in October 2015 at Galeria D, in São Paulo, and was part of the exhibition Fio da Meada, the following month, at A Casa - museum of Brazilian objects, also in SP.


Zana Maria creates, recreates and transforms yo - yos into pieces full of emotion. Over the years, I presented her work wherever I went and as soon as I had the opportunity I transformed her story into the exhibition Coisas e Não Coisas, in November 2018, at Yankatu Gallery, in São Paulo.

The success was so great that she was invited to make the exhibition Fuxicando Techniques Making Art at Senac São Paulo, in May 2019, presenting her work in one of the most important Brazilian institutions.




An invitation to participate in the Creative Week of Tiradentes put in my path, in July 2017, the artisans Rondinelly Santos, Expedito Jonas de Jesus, Wagner Trindade, Maria Conceição de Paula and Lilia Fonseca. Together with the other invited designers, we developed pieces presented during the event held in October of the same year.


I felt that I spent too little time with them so I decided to return in December to write another story that culminated with the collection Artesãos, the gold that flourish by the hands, launched in June 2018 in São Paulo, and taken to Tiradentes in October, as an exhibition during CWT 2018. The possibility of taking the pieces inspired by their stories, where their works are incorporated, generated a lot of emotion for myself, for them and in the region, who could see up close a new way of working and approaching craft work.


The possibility of taking the pieces inspired by their stories, where their works are incorporated, generated a lot of emotion, in me, in them and in the region, who can see up close a new way of looking at and approaching craft work.


In February 2019, with the help of designer Sérgio Cabral, I managed to bring Rondinelly and Expedito to São Paulo, for a chat on the opening day of the exhibition Artesãos, at Galeria Yankatu Gallery. On this day the designer Eduardo Borém met them and soon afterwards his heart or took him to Tiradentes to develop with them both the Ivory Tower collection, and taking the work of these two masters to Milan in April, during the Milan Furniture Show, one of the main events of furniture and design segment in the world.





This independent publication “Deuzani, poet from the Valley” is a tribute from me and the photographer Marcelo Oséas to the poet Deuzani Gomes dos Santos, to her sensitive words and to the magnificent artistic and social work she does in the community of Coqueiro Campo, Vale do Jequitinhonha / MG.


Deuzani is a craftswoman, a mother and a poet. She works in the fields and welcomes guests from all over the world to her home. She always dreamed of being a poet, but as she only studied until the 4th grade, she didn't think that would be possible. Through her poetry, she describes her life and the life of the Jequitinhonha Valley, where she lives. The Valley is a place affected by drought, where women found a form of realization and income in ceramic crafts.

The book is available in Portuguese through order. Part of the amount collected covers printing costs and the other part goes to the author, Deuzani, as copyright. 




Deuzani Gomes dos Santos is a woman, mother, artisan and poet. She is pure strength and feeling. We met in July 2016 and in January 2017 I had the honor of staying at her house for a week, getting to know life in the Jequitinhonha Valley, Minas Gerais. While staying there I had a different perception of time and the Records of Time collection began to be rise.

Launched in August 2017, the collection was part of the exhibition Moldar Mudar, life shaped in clay of the soul, at A Casa - museum of Brazilian objects, also in SP, where in addition to presenting the different views of five designers for the region's handicrafts , Deuzani's story was told, presenting in detail his creation process, from clay transformed into powder, to the transformation of pigments through the heat of the oven. The opening of the exhibition was attended by Deuzani, reciting some of her poetry. Since then I had the desire of publishing her book.




A CASA Museum of the Brazilian Object exhibited in 2016 “Fio da Meada”. The exhibit presented four visions of the same experience that began in Muzambinho, Minas Gerais, in September 2014. With the potential of handmade textiles as the main support, four Brazilian designers - Mari Dabbur, Marina Dias, Maria Helena Emediato and Maria Fernanda Paes de Barros - created pieces of furniture in partnership with groups of artisans in the city of Minas Gerais.


Using textile production as the guiding thread, the exhibition seeks to enhance the artisanal work. “By encouraging people to interact, we intend to break the existing stereotype in relation to handicrafts, taking a new look at these communities and the product of their work”, says artist Maria Fernanda Paes de Barros.

Four designers, from the same trip and working on the same support, produce completely different pieces. For designer Marina Dias, the personal references of each one added to the experience lived together have a direct influence on the shape and characteristics of each product.


The layout of the works in the exhibition space told the story of the experience lived by the designers. Through a photo panel, the visitor was able to follow the process of inspiration and creation of the pieces. “We intend to stimulate the public through images, textures and interaction, as we believe that when we get emotional we register the moment and somehow it becomes unforgettable”, reveals designer Maria Helena Emediato.


In an attempt to materialize and share a little of the immersion process in Muzambinho, the designers decided to give the visitor the opportunity to participate in the elaboration of one of the works. Hanging domes and scraps of fabric meet and take shape through the hands of the public, who will have the opportunity to weave the strips in their own way, thus composing collective authorship lamps. “Design is not just about creating new things. It is capable of transforming, valuing and preserving, but for that it is necessary to see, feel, be and be moved ”, concludes designer Mari Dabbur.


The museum also brought together tables, lamps, swings, an armchair and a composition of bench and shelves. Although they use wood, iron, rope, straw and copper, cotton thread is the main material.