Through drawing and painting, Markowski creates a pictorial, narrative and intellectual space in which the female figure carries the central stage and is surrounded by a concrete iconography that uses elements taken from the universe of Brazilian fauna and flora and Yoruba culture. Ancestral masks appear in this context as attributes of a neglected collective memory.

The artist’s production encompasses a process of documentation on different socio-cultural aspects of Afro-Brazilian history and the African diaspora. This approach relies on a constant search in archives, image databases and flea markets from where the artist collects ancient books, photographs, illustrations, newspapers, advertisements or old family albums. These sources allow for the construction and presentation of a particular visual universe in which, in a simultaneously poetic and political way, reference is made to the syncretic version of Brazilian Catholicism while also evoking regard to female power.

In Markowski's creations, human figures are universally worked centrally and in contours that draw on the allegory and iconology of the Baroque. They stare at the viewer. They question the viewer. They question the hegemonic meaning of thought and claim an inevitable and imminent process of historical reparation, healing and transformation in their attributes.