Curitiba, Paraná, 1958 Begins her artistic studies in the Faculty of Music and Fine Arts of Paraná, where she completes her painting career in 1981. Laura Steff Miranda also studies, starting in 1980, contemporary dance and that same year, she is awarded during the II Show of Contemporary Forms, at the Museumd of Contemporary Art of Paraná. In 1985, along with Denise Bandeira and Eliana Prolik, she forms part of the collective exhibit Impresiones digitales (Digital Impressions), which is a combination of video, painting and tri-dimensional works (Cutitiba and Sao Pablo). Once again returning her attention to working on engravings and sculpture, in 1987 the artist becomes part of the Nucleo de Estetica (Aesthetic Nucleus), promoting in different places the discussion of contemporary art and finishes the project Trayecto, filamento y retorno del cuerpo (Trajectory, filament and return to the body), which includes performances, drawings, videos and studios. From 1989 to 1995, she works on designing the sets for the dance company Tiempo (Time), with figurines and performances, in presentations in Brazil and the United States, where she studies corporal preparation techniques with Joel Kendall and Sheila Domit. In 1990 she has an individual exhibit in Rio de Janeiro, at the Project Macunaíma, of Funarte (National Art Foundation), she teaches groups of students in her own studio until 1991, when she starts attending the sculpture studio of the Visual Arts Faculty of Lage Park, in Rio de Janeiro; the following year she completes a new exhibit at the Project Macunaíma. In 1993, she participates in the 17th Salon Carioca of Art and the 13th National Salon of Plastic Arts, both taking place in Rio de Janeiro. Between 1998 and 2000, she teaches at the Faculty of Music and Fine Arts of Paraná, takes part of the contemporary artistic scene by working in numerous exhibits and activities, among them the most outstanding are the studio Medio líquido (1991) (Liquid Medium), la exhibit El arte hoy (Art Today) at the Museum Alfred Andersen (Curitiba, 1993), the individual exhibit at the Museum of Contemporary Art of Paraná (Curitiba, 1994), XI Exhibit of engraving City of Curitiba (1995), Aurea hora (Aura hour), individual exhibit at the Gallery Funarte (Rio de Janeiro, 1996), Cuerpo impreso (Printed Bodies), a project with Denise Bandeira consisting of impregnations and corporal impressions made in graphite and charcoal dust (1998), Obras recientes en el acervo (Recent works on a pile), shown at the Museum of Contemporary Art of Paraná (1999) and the National Exhibit of Engraving (Curitiba, 2000). Schemes, relief and blows¿ Laura Miranda takes exceeds limits of the materials she uses, in subtleties made in glass, cotton, felt and fiber. Nevertheless, if it is necessary, the artist knows how to look in the heaviest elements, like iron, lead, and even asphalt, the convenient resistance of the material¿s language, which can be affiliated to the best slopes of abstraction and neo-concretismo. Sometimes repeating the open way taken by paradigmatic artists like Sérgio Camargo, Franz Krajcberg and even Mira Schendel, Laura Miranda, when rehearsing with renewed supports, seems to incorporate in the poetics of the artwork her knowledge of dance and the corporal techniques that, even, are used in performances and studios; frequently converging in this way in her artwork is the appeal of the sensible in a dimension narrowly entailed in the dynamic of the body and desire.