Postcards from home

29/03/2026

Hi, I’m Juliana Arruda and this is the last day of my takeover at .

I would like to conclude by sharing some images from my work provisionally titled When Time Loosens. I began this project at the end of 2025, using an analog camera to capture images with the intention of softening time. I live in a large metropolis, permeated by noise, traffic, smoke, and dissonance. When I leave the city and go to a place I call home in the mountains, I feel that time slows down and the hours stretch. 
In developing this project, I have been reflecting on time and the delicacies of everyday life. In a world marked by discouragement (wars, inequalities, and environmental destruction) I seek in small things the strength to hope for a home for tomorrow.

Over the past few days, I have shared projects that explore the concept of home. Home is the place and the house, with its rooms and objects, where we live, but also the space that inhabits us. Home is the stories and memories we carry within. Home is departures and arrivals, presences and absences. Home is found in small things and gestures, in what offers refuge and gives us meaning.

Thank you for accompanying me over these past few days. Thanks to and for the invitation and for providing this space of sharing. Postcards from Home is a community art project that brings people together to reflect on the idea of home.

If you’d like to continue following my work, you can find me at

Text and photos by

28/03/2026

Hi, I’m Juliana Arruda , and this is the fourth day of my takeover at .

Today I present My Mother Planted Me a Tree (2020 – 2025), a project that explores memory, affection, and nature through a flamboyant tree planted by my mother during my childhood. She planted a tree for each of her three children. Mine (and I call it “mine” because that’s how it was planted within me) is a flamboyant that still stands in front of the house where I grew up, with its welcoming garden - a space where I imagined futures alongside my brother.
The flamboyant becomes the starting point for revisiting origins and reflecting on time, roots, and the urgent need to reconnect human beings with nature. Family photographs, my own photographs, embroidery, and frottages of the flamboyant’s surface weave together two distinct times – childhood and the present. The tree emerges as a symbol of ancestry and continuity, while the garden reveals itself as a territory of hope.

This work is an invitation to reflect on the future. In the name of progress, trees are cut down daily and replaced by concrete in large cities such as São Paulo, where I live. Trees are essential to life on Earth. Without them, how will we survive? Planting a tree is an act of resistance, a call to preserve our greater home: nature, the planet.

Texts and photos by

27/03/2026

Hello, everyone. This is Juliana Arruda and today marks the third day of my takeover at .

Here I present Second Skin, a work developed between 2018 and 2022. I understand the body and skin as holders of physical sensations, as well as the marks of life — fragments and scars of what we once were and lived. To inhabit the present, it is often necessary to look back, revisit memories, and embrace our former dwelling, because home is not only the external space, but also this inner place.
Second Skin explores minimal existences — life in its insignificance, the small daily losses, and what we cease to be or become because of them. The work unfolds through subtle displacements that traverse images of memory (both real and imagined) in an attempt to rediscover the home that resides within us.

Second Skin was also published as a photobook in 2022 by Fotô Editorial .

Texts and photos by

26/03/2026

Hi, I’m Juliana Arruda (), and this is the second day of my takeover at .

I present I Offer My Portrait as a Memento (2018–2025), a project that traverses the voids of memory and image through the re-signification of family photographs. Its starting point lies in old portraits of my maternal grandmother, where she appears young and smiling, in contrast to the serious and reserved woman I came to know. Who was, after all, the grandmother in those portraits? What does the image leave unseen?
Through interventions — overlays, new framings, stitches, collages, and more — I deconstruct the original portraits, emptying them in order to fill what is missing, questioning what images reveal and conceal, and reconstructing memories and affections. In doing so, I remake both my grandmother’s remembrance and my own, as well as the home that binds us within me.
For home is both presence and absence, woven from stories told and silenced.

Texts and photos by

25/03/2026

Hi, I’m Juliana Arruda (), a visual artist and poet from São Paulo, Brazil. With joy, I take over the Instagram account for the next few days.

In my work, life and imagination intertwine in a poetic listening to the small things. Everyday life, memory, nature, and time emerge as threads that weave, for me, the concept of home.
I begin with Memory of Time (2017). In this work, I photographed the house where I lived throughout my childhood and adolescence. I seek out rooms and objects that once existed and still inhabit that place. I believe that places and things hold memories: on one hand, they tell our stories to those who arrive; on the other, they accompany us in silence, as we carry fragments of them wherever we go.
By reconnecting with spaces and objects, we awaken emotional memories that also invite us to reinvent and reframe recollections. Home is not only the physical space that shelters us, but also the intimate territory where memory and imagination merge, creating new forms of existence. Over the next few days, I will share some works that explore this concept of home.

Texts and photos by

23/03/2026

Hi everyone, this is .andrea on the last day of my takeover.

In recent days, I’ve spoken about my immersion in Îlot 13 and how, little by little, I’ve begun to feel at home thanks to photography. Whenever possible, I’m present at events organized by the residents’ association, with a camera slung over my shoulder. I’ve become, in a way, the photographer of the place. Some residents have become good friends, and thanks to these bonds, I’m beginning to feel roots taking place there.

All our homes will accompany us along this journey that is life because it is the experiences we have in them that partly build and transform us. Some will be more present than others. On my balcony, for example, a loquat tree timidly grows in a small pot, the tree of my childhood.

We don’t simply inhabit houses. Houses also inhabit us. And so we carry them wherever we go, with our stories, memories and affections.

The best home is the one that is within us.

Home is where love is...

Thank you to and for having me here and for this beautiful project.

Thank you to everyone who followed me along this week.

If you would like to continue following my work, you can find me at .andrea and my self-published books at .editions

Photos by .andrea

22/03/2026

Hello, everyone! This is .andrea and this is my fourth day of takeover.

A house is not just what’s inside it, but also its entire surroundings and the life that pulsates within it. A few years ago, a group of residents created an association to care for the gardens of Îlot 13. Beyond their interest in expanding the local vegetation, their goal was to bring the people who live there closer. They then began organizing frequent gatherings, combining gardening and festive activities.

In this process, it’s interesting to observe how city life has isolated us from nature and how today, under the influence of climate change, we are trying to reconnect with it. This leads us to consider an even broader concept of home. This is another issue that I’ve been exploring in this project.

Photos by .andrea

#σπίτι

20/03/2026

Hello, everyone! This is .andrea and this is my second day of takeover.

Moving house is an intense process. The first feeling is one of strangeness. It seems that those bonds created with the old home, and with all the life surrounding it, accompany us, insisting on highlighting the differences of the new place. We go on like this, observing and comparing, until we adapt. At least that’s what happens to me with every house move.

Îlot 13 was no different. In a way, I started photographing to build a relationship with the place. First, it was its gardens, something precious in a big city, especially because these green areas become important focal points of sociability. There, I found families with children and other residents, some actively involved in tending the gardens. Despite being in tall modernist buildings that isolate people, the surrounding gardens allow for the construction of relationships that perhaps wouldn’t exist without them.

This perspective of everyday life, from within a small community, interested me in the project. It was something I had already been exploring in other Parisian projects, where I invited other residents to photograph with me. In this way, from the same place, we shared different experiences and ways of seeing the city.

Photos by .andrea

#σπίτι

19/03/2026

Hi, this is Andrea Eichenberger .andrea, Brazilian visual artist based in France — and I’m happy to take over this week!

Over the next 5 days, I will be sharing images from my ongoing series entitled « Îlot 13, » named after the place I chose to live four years ago and with which I have been forging a connection through photography.

« Îlot 13 » was one of the areas identified as unhealthy in Paris at the beginning of the last century. There were 17 in total. They were completely demolished to make way for modern structures. In general, the people who live in these places today don’t know this history. It was through my interest in it that I had the opportunity to get closer to other residents and thus effectively begin to feel part of the place.

In the center of the 5-hectare plot, which houses 7 buildings surrounded by alleys and gardens, lies the school. When its headmistress decided to install a vegetable garden, soil analyses were carried out and the presence of lead was discovered. History was awakening and, in some way, destabilizing the serenity of the place. We, the parents, were quickly warned, and all the children at the school, exposed to the soil during recess, had to be examined.

For some time now, I have been developing projects that explore how the past is reactivated in the present moment in order to bring people together for a common goal. And this story has become a way to continue thinking about these issues.

In the next posts, I will share photos and information about this work.

Photo by .andrea

#σπίτι

17/03/2026

📭 What inspires Andrea Eichenberger most in her photographic practice is encounter. Interested in how others position themselves, conceive of themselves, and see the world, she creates spaces for dialogue and the sharing of experiences through photography. Her images are thus constructed from listening and the connections forged with others.

Welcome Andrea !

08/03/2026