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Paul Parra is a Communication and Culture Master by The University of Sorocaba, which research developed between 2016 and 2018 had as thematic the sexual and gender dissidence in Brazil. In the dissertation, he deepened the questions about life-art TRANSsviada (TRANSsfag), which is characterized by speeches and visibility of socio-cultural oppression and LGBTQIA+ resistance. 


Autodidact in visual arts, in 2016 started a deep investigation about gender and sexuality in himself, process which the art started to unfold your perceptions and affections while a pansexual and non-binary transmasculine. In his arts shows emotions and conflicts between bodies, senses, feelings, transits and transitions.


In 2017 and 2018 developed the series “Transvyadagem”: between perception and affections, an arts collection of that approach the subjective issues of gender transition, as well as the body involvement of the dissident body in affects/sexual relationships. The exposure was displayed in the I Sarau Desviadas, in Campinas/SP, and in the IX ABEH International Congress, in the Federal University of Ceará, in Fortaleza/CE; In 2019, was contemplated by the PROAC Notice to encourage the development of popular, traditional, urban, black, indigene and plural culture, in 2019, with the project TRANSpassadxs.


As cultural producer, integrates the Producer Bons Ventos (Good Winds), majority LGBTQIA+ collective based in Campinas, which aims to spread disobedient art to the city and region. In addition of TRANSpassadxs, he produced the projects “Serpentina” (“Serpentine”) in 2020 and the project “Corre da Paz” (“Work from Peace”) in 2021. 


In LGBTQIA+ culture scene, participate in the House of Ubuntu, artistic collective inserted in the Ballroom scene, in the interior of the State of São Paulo. The house develops activities with the purpose of share and to TRANSform the population by the art, culture and affections propagation. In 2020, was contemplated by the PROAC Notice in two projects with the collective: “Tenda Vogue” (“Vogue Tent”), which assume the project’s proposition and production, and “Ballroom em Cena” (“Ballroom in Scene”), which assume production and design.

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