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A new chapter in Brazilian collectible design

Photo: Victoria Yamagata & Lari Kreilli
Location: Aalvo Gallery
Words: Anita Goes & Lola Maria Tulle
São Paulo, 2025

The idea for Aalvo took shape in 2022, during a moment of rupture and renewal in Lola Maria Tulle’s journey.

She first entered the world of Brazilian midcentury furniture almost by accident—like someone wandering into a beautifully lit room with no clear exit. At first, she was captivated by the elegance of forgotten pieces, the clarity of lines, the weight of legacy. But over time, she came to realize this was a narrative long told, echoed by many voices before her. What began to draw her in were the stories still unwritten.

When I first walked into Aalvo Gallery, tucked away in São Paulo’s Barra Funda neighborhood, I couldn’t help but wonder if visitors to The Downtown Gallery had the same feeling when they first stepped inside in 1926. That pioneering space in Lower Manhattan, founded by Edith Halpert—also a woman—transformed the art world. Just as Edith’s vision was a catalyst for new possibilities, Tulle’s Aalvo Gallery represents a unique moment of dedication to emerging talent. Lola and Edith share more than just gender—they share a mission, one rooted in a deep commitment to providing artists with a space to grow, while simultaneously helping them sustain and develop their careers. Both women are united by their drive to be more than curators of art; they are stewards of its future.

Today, every artist and designer represented by Lola had their first solo exhibition at Aalvo. For her, this is perhaps the most powerful aspect of her work—building something with the artists, from the ground up, in a spirit of collaboration, trust, and mutual respect. This collective approach is at the heart of Aalvo’s ethos and a testament to the community Lola has built within the gallery.

Tulle’s path to the art world was anything but conventional. She spent many years immersed in the fashion industry—navigating its vast machinery and polished surfaces. This experience honed her eye, sharpened her attention to detail, and gave her a deep understanding of aesthetics. Yet, over time, she outgrew it. Fashion teaches one to see; art, on the other hand, teaches one to feel. It was this shift from surface-level observation to deeper connection that steered Lola toward the world of art and design.

“I once heard a gallerist I deeply admire say, “The best part of having a gallery is witnessing the freedom of the artists you work with — in every sense of the word.” That sentiment has stayed with me ever since, because it rings so true. There is nothing more rewarding than watching an artist evolve — not just in their work, but in their language, their vision, and their life. It’s a privilege to witness their growth and transformation, and it is, without a doubt, the most fulfilling aspect of what we do.”

Without a formal academic background in the furniture world, Lola forged her own path through a blend of intuition, curiosity, and hands-on experience. She learned by doing, by stumbling, by insisting on what she believed in. This unconventional approach allowed her to embrace a freedom that many in more traditional fields may never experience. It is this liberation from convention that has made her path not only more winding but also more experimental and ultimately, more expansive.

Aalvo’s most contemporary artists — Pedro Ávila, Jacque Faus, Andrew de Freitas, Bruno Grizzo, and Rafael Triboli — bring with them the distinct merit of applied design. While their creations are recognized as fine art, they also carry a “living factor”: they are objects and furniture designed to exist in the domestic sphere without losing their poetic and conceptual weight. You can welcome guests at one of Triboli’s dining tables, light your living room with a lamp by Ávila or Grizzo, admire Faus’ sculptural ceramic vessels, or sit in one of de Freitas’ chairs — all while engaging with each piece on a deeply emotional and sensory level.

“In Brazil, the concept of a “designer represented by a gallery” is still relatively new and unfamiliar. We are helping to shape a movement that redefines not only what it means to collect but also what can be collected. Supporting a creative career goes beyond curation: it’s a long-term commitment, a consistent presence, and — above all — the cultivation of a robust network of collectors, a process that unfolds gradually through time and trust.”

Aalvo Gallery: @aalvogallery // www.aalvogallery.com
Lola Maria Tulle: @lolamaria
Victoria Yamagata: @victoriayamagata

As they enter their third year, it’s admirable to see the reach of Aalvo’s work being recognized. They’ve been committed to positioning their artists in established markets — while cultivating, in Brazil, what its call the “new collectible.” Opening this space has been as challenging as it has been of incredible personal growth

At its core, Aalvo is an exercise in believing in what is still taking shape—a platform for what doesn’t yet have a name, but is already alive and in motion.