
Paula do Prado is a visual artist, researcher and creative workshop facilitator working with various forms of tejido (weaving) on the sovereign lands of the Gadigal and Bidjigal people. Born in Uruguay on the lands of the Charrúa Nation, she migrated to Australia in the mid-1980s. Her practice surfaces the intersections of her West African Bantu-Kongo, Iberian and Charrúa ancestral lineages, anchored in the Abya-Yala concepts of cuerpo-territorio-espiritu (body-land-spirit) and sentipensante (feel-thinking): pathways indivisible from her cultural and spiritual practices, her family, community and beyond-human kin relationships.
Do Prado has exhibited nationally and internationally in significant group exhibitions including the VIMA Cyprus Art Fair, Limassol (2025); Indian Ocean Craft Triennial (IOTA), Perth (2024); Tiwani Contemporary, London (2024, 2025); Textile Biennial Rijswijk, The Netherlands (2019); Bankstown Biennale: Sub Terrains, Bankstown (2022); and 4A Centre for Contemporary Art, Sydney (2023). Her work has also been presented as part of the 1st and 5th Tamworth Textile Triennial touring exhibition. In addition to her own practice, do Prado works as an artist in community, including previously with Spinifex Hill Studio Artists in Port Hedland and currently with the GUL Collective, part of the Multicultural Women's Hub, a programme initiative of Arts and Cultural Exchange (ACE), Parramatta.
Do Prado holds a Bachelor of Fine Arts, First Class Honours (Textiles) and a Master of Fine Arts (Research) from the University of New South Wales, and has recently completed a practice-led PhD at the University of Sydney. She is a member of the Sydney Indigenous Research Network and the Sydney Environment Institute. Do Prado has been selected for the 2026 annual co-commission between the Art Gallery of New South Wales and Artspace as part of the Contemporary Projects series, which supports an artist or collective from Artspace’s Studio Program to develop a new work for presentation at the Art Gallery. As a result of this award, her residency at Artspace has been extended to two years.

OYENDAU: The Cosmic Sense of Life
2026
installation view
STATION Sydney/Gadigal
Photo: Sarah Kukathas

Onkaiujmar
2026
detail image
crochet, coiling, tapestry, hand stitching, binding and knotting using acrylic and wool yarns, paper covered wire, beads, found lace, fabric
Photo: Garry Trinh

2025-2027 Artspace Residency
2026
Artspace
installation view
Photo: Garry Trinh

Re-mebering my Charrúa roots
2024
installation view
Sydney College of the Arts Project Space
Photo: Garry Trinh

OYENDAU: The Cosmic Sense of Life
2026
installation view
STATION Sydney/Gadigal
Photo: Sarah Kukathas

Crocodile Tree
2026
detail image
crochet, coiling, binding, hand stitching and knotting using acrylic and wool yarns, paper covered wire, beads
Photo: Garry Trinh

2025-2027 Artspace Residency
2025
Artspace
installation view
Photo: Garry Trinh

The Afterbirth
2026
crochet, coiling, hand and machine stitching, soft fabric sculpture, acrylic paint, acrylic and woollen yarns, paper covered wire, beads, polyfill
dimensions variable, up to 290cm fully stretched, each circular section 39cm diameter

As Feeling Births Idea
2024
installation view
Tiwani Contemporary, London UK
Photo: Deniz Guzel

OYENDAU: The Cosmic Sense of Life
2026
installation view
STATION Sydney/Gadigal
Photo: Sarah Kukathas

Berá x Yacaré
2026
detail image
crochet, coiling, hand stitching, binding and knotting using acrylic and wool yarns, paper covered wire, beads
Photo: Garry Trinh

The Afterbirth
2026
crochet, coiling, hand and machine stitching, soft fabric sculpture, acrylic paint, acrylic and woollen yarns, paper covered wire, beads, polyfill
dimensions variable, up to 290cm fully stretched, each circular section 39cm diameter

pallay yuyay: to gather, to remember
2021
installation view
Verge Gallery
Photo: Zan Wimberley

OYENDAU: The Cosmic Sense of Life
2026
installation view
STATION Sydney/Gadigal
Photo: Sarah Kukathas

South Crossing
2026
detail image
crochet, coiling, hand stitching using acrylic and wool yarns, paper covered wire, beads, repurposed fruit netting
Photo: Garry Trinh