Though Penna Prearo is mostly active as a photographer, his wide range of experiences with a range of art disciplines has largely shaped his artistic sensibility. Beginning his career as an autodidact in the 1970s, Prearo had previously worked in both music and theater performance; he also built up a practice as an independent commercial photographer. It was during his time running the photo studio of the newspaper Folha de São Paulo that Prearo began to work on photo essays incorporating elements of painting and cinema. Prearo’s work now frequently features narrative elements, forms blurred unto abstraction, and color saturation. His subjects include quotidian scenes as well as staged ones: In “Falange Ciclope” (2002-12) and “Ballerinas” (2001), cycling wheels and mosquito nets are anthropomorphized protagonists, while other series feature nondescript crowds of people wearing the same masks or headgear.