Luma Nascimento (b. 1991, Brazil) is a visual artist working across sculpture, installation, audiovisual performance, and artificial intelligence–based practices, with a focus on Afrovisualities. Her work engages material memory through the accumulation and stacking of glass beads, ceramic forms, and collected earth, approaching the body as a spatial document. Working within her ongoing Corpo Documento series, Nascimento develops sculptural compositions as systems of entropic accumulation and circularity, where matter operates as both carrier and transmitter of diasporic knowledge. Her installations often incorporate soil from quilombola territories alongside bead-based assemblages, proposing the ground not as a passive surface but as a technology of inscription, circulation, and autonomy. Through suspended structures, vertical assemblages, and performative activations, her practice articulates memory as a spatial condition structured by spiralled temporalities. Drawing from Black women’s trade networks in Bahia’s informal markets, Nascimento mobilizes sculpture, performance, and computational processes as methods of documental registration. In her work, time is not treated as linear chronology but as a spiralling framework for material thought and transmission. Nascimento has participated in international residency programmes including Instituto Sacatar, Itaparica (2024); Performing Arts Forum (PAF), France (2024); Glass Forming Academy, Pretoria (2023); True Music Programme by Ballantine’s, London (2021–2022); MAM Rio + CAPACETE, Rio de Janeiro (2020–2021); and SESC 24 de Maio, São Paulo (2019). Her work has been exhibited at institutions such as the Hammer Museum, Los Angeles (2026), where she presented the AI-based video installation ORIKI; MUNCAB – Museu Nacional da Cultura Afro-Brasileira, Salvador (2025–2026); Museu Nacional da República, Brasília (2025); Museu de Arte Contemporânea da Bahia (MAC Bahia) (2025); and Palácio Tira-Chapéu, Salvador (2022). Her research includes Societies Organized Through Anticipatory Intelligences (MAM Rio + CAPACETE, 2020–2021, supervised by Raquel Barreto), as well as ongoing field research on informal trade networks and open markets with the Centro de Documentação e Comunicação Negra (CDCN), Bahia (2023–ongoing). She has also contributed to field research for Luana Vitra’s project As contas do meu rosário são balas de artilharia (South Africa / Netherlands, 2024–2025).