Beijú Center Table in Cabreúva wood – With artisans from Brazil

by YANKATU Brazil


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    How is this defined? A set of pieces produced in a predetermined quantity, typically no more than 30, and uniquely numbered either on the item itself or on the accompanying certificate of authenticity. Although generally uniform in design, slight variations may exist due to the handcrafted nature of the pieces.
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A tribute to Mehinako women.

All Mehinako traditions move me. The exchange system called Moitará, through which exchanges between villages are made, allows women to purchase ceramic pieces that are placed over the fire to prepare the typical food, the cassava beiju. This moment was also revered at Mesa Beiju, carved in solid cabreuva and balanced on bricks made also of wood, paying homage to the work of women, not only in food, but also in the elaboration of tiny beads necklaces used in their rituals.

Materials – Cabreuva solid wood and details of red beaded necklaces traditionally used in rituals, made by Kayanaku Aweti, Kaupüna village, in Xingu Indigenous Territory, MT.

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About YANKATU Visit Showroom →

Maria Fernanda Paes de Barros is a designer, visual artist and researcher, founder of Yankatu - Design with Soul. With a degree in business administration and interior design, Maria Fernanda has worked in the field for over 20 years. She migrated to furniture design in 2014, creating Yankatu, a design studio through which she carries out projects with social impact alongside Brazilian artisans. The encounter with the art world happened naturally in 2020 when the search for the appreciation of Brazilian artisans and their knowledge generates a growing discomfort regarding invisibility and lack of knowledge about the reality of Brazilian cultural traditions. Her work is based on relationships that go beyond the gaze and are established on mutual trust and admiration. His production spans a long timelessness and also a continuity, resulting from the privilege and fluidity of the otherness of established relationships. It is in the power of art that she finds the way to share her learning, activate the gaze and listening of others, seeking to generate in them the same discomfort she feels and, in this way, encourage them to act. It is through a relational aesthetic that she aims to join forces because the reaction of the other, the spectator, is essential for the realization of her art, which does not end with the created object but rather expands into the immaterial and impalpable field. Her production involves various materials without settling on anyone, despite her familiarity with solid wood. It goes from clay to feathers with the same lightness that conveys strong messages in a poetic way.
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