Luíza Bastos Lages 的視覺敘事從日常生活、迫在眉睫的崩毀與殖民結構下的記憶中所提煉出來。她的作品時常為書寫、雕塑性裝置和動態影像，以多種樣貌的裝置彼此相互對話。她近期的作品邀請觀者思考晚近在巴西高漲的威權主義，並將之視為國家過往的再度崛起，且歷史性的反覆操演不僅發揮在國家領域，同時也根深蒂固的存在於各種社會關係之中。 長期對歷史及去殖民化研究的關懷形塑了她的創作實踐，並在作品中透過個人生命經驗與其關注交織而展現。 她作品中的物質性由其創作媒材出發，結合材料自身於歷史演變中所留下的痕跡（如生產模式、用途、約定俗成的意義）而進行一連串的發想，作為對日常材料之意義解碼而後重新編碼的嘗試。
Luíza Bastos Lages works on visual narratives that distill the ties of daily life, the imminence of ruination, and memory to the structures of coloniality. Her works are often an articulation of writing, sculptural objects, and the moving image, which in dialogue result in installations with varying formats. Her recent works invite the viewer to consider the recent rise of authoritarianism in Brazil as a renewal of the country’s past, and as a historic practice not only operative in the sphere of the state, but also ingrained in social relations.
In terms of work process, her creative production is informed by a dedication to history and studies on decoloniality, and often by her personal relationship to the matter brought up by the work. The materiality of her practice commonly originates from an associative process combined with the tracing of the history (production, use, common given meaning) of the materials she works with: an attempt to decode and hereafter recode the signification of such day-to-day materials.
虛構景觀 (Paisagens Fictionais) 詰問當代景觀的短暫及轉變，對於進步的想像，是現代性其霸權與謬誤的手段及產物。此作品出發於記憶中的一個地方-位於巴西的鐵四角形 ( Iron Quadrangle) ，由此鋪敘一段持續殘敗的採礦景象 。鐵四角形位於全球主要礦區之一的米納斯吉拉斯 (Minas Gerais)，同時也是我出生的地方。
作品講述了與景觀相關的開採政治，並將其轉化為資本，藉由地理上的移轉而實現於全球其他地方。 通過資本的流動，景觀也在移動，成為被交易的開採碎片。作品透過處理景觀的商品化及其變動，試圖闡明此勘探模式是如何反覆發生，並不間斷地在積累的中心及退敗的郊區之間建構世界，因為，在追求進步的主流模式之中，經濟的不平等是支撐其持續發生的首要條件，而非需克服的副作用。
虛構景觀由我拍攝的影像、美國國家研究院 (United States American Research Institutions) 製作的巴西相關檔案影像，以及家庭錄像交織而成。
Fictional Landscapes [Paisagens Fictionais] interrogates the ephemerality of the contemporary landscape, and its transformation, as a means as well as a product of a hegemonic and fallacious project of modernity: the idea of progress. The work departs from a place in memory, the continuous dilapidation of mining landscapes of a stretch of the Iron Quadrangle, one of the major mineral provinces in the world, located in Minas Gerais, Brazil, the place where I grew up. The piece goes about the landscape in relation to the politics of extraction and its translation into capital, geographically transferred and realized elsewhere in the globe. Through the flow of capital, the landscape also moves, traded by means of their mined fragments.
By dealing with the commodification of the landscape and its flux, the work seeks to elucidate how this exploratory process repeats itself and continues to structure the world in accumulating centers and degraded outskirts, since, in the dominant paradigm of progress, the sustenance of economic inequality is the foremost condition for its continuity, not a side effect to be overcome. The film Paisagens Ficcionais was produced from an interweaving of footage produced by the artist and archival footage produced by United States American Research Institutions about Brazil, as well as archival home footage.