Brazilian artist Sophia Loeb makes paintings in which landscape, abstraction and sensory experience converge, constructing environments where colour, atmosphere and matter follow their own internal logic. In a wide-ranging interview, she describes her practice as emerging from deep engagement with the natural world, approaching the canvas from multiple positions, rotating and tilting it so that gravity, movement and resistance become active elements in the work. Loeb's recent exploration of light reached particular intensity in O Manifesto da Luz antes do Amanhecer (The Manifesto of Light Before Dawn), her second solo exhibition at Pippy Houldsworth Gallery in London, shown from 5 June to 4 July 2026. Across new paintings and impasto surfaces, she moved between abstraction, landscape and visual perception, evoking dawn, mist and shifting atmospheric conditions. Developed in Brazil while reflecting on London and its mutable light, the show extended her longstanding fascination with the cosmos, treating light as a threshold through which the world enters visibility. Living between the two countries, Loeb says, has changed her understanding of what a landscape can be. Brazil enters her work through humidity, vegetation, intense colour and organic interconnection, while London brings fog, muted light and constantly shifting weather, and the absent place can assert an even stronger presence than the one she is in. Her early training as a sculptor remains evident in a physical process where liquid and powdered pigments, oil and oil sticks are applied, scraped away and reworked through successive layers. Loeb describes painting as autobiographical and intuitive: one gesture, colour or material response generates the next, and buried layers continue to exert a presence even when covered. For her, abstraction offers a way of experiencing something without needing to identify or name it, allowing each viewer to find something different in the same surface.