Paloma Klisys develops her work as a poet through a form of writing that articulates formal rigor, attentive listening to everyday life, and openness to the unforeseen, positioning language as a field of critical and sensorial experimentation.

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Her literary production is situated within an expanded territory of contemporary poetry, in which the text enters into dialogue with performance, orality, and the visual arts, without being restricted to fixed formats.

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Author of the books (Des) Ensaios no Imprevisto, published by Editora Córrego, and Qualquer coisa entre um cigarro e um lugar que não existe, initially released by the publishing house O Autor na Raça and later by the imprint Edições Maloqueiristas, among others, Paloma constructs works composed of poems and micro-chronicles that explore different regimes of linguistic intensity.

 

In (Des) Ensaios no Imprevisto, the writing incorporates images from visual works created by the artist throughout her career, reinforcing the hybrid and transdisciplinary dimension of her poetic practice.

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Her poetry moves fluidly between references to concrete poetry, brief structures close to the haiku, longer texts, and micro-chronicles that observe, with precision and irony, the human condition.

 

Humor, social critique, and lyricism coexist in a form of writing that tensions the everyday, opening space both for critical readings of the impacts of global geopolitics and for the sensitive and enigmatic dimensions of existence.

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Added to this is a deliberately playful and displaced romanticism, which operates as a strategy of friction between affect and critique. Collective experience also occupies a central place in her poetic formation.

 

In the first decade of the 2000s, Paloma was part of the Poesia Maloqueirista collective, participating in collective actions.

Her trajectory in solo performances is also noteworthy, consolidating a direct relationship with public space and with diverse audiences—an element that remains a structural mark of her writing.

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Currently, her poetic production, in addition to materializing in printed publications, is frequently presented in dialogue with other creative processes, including solo performances and hybrid actions that expand the circulation of the text beyond the book. Poetry, in her practice, does not close itself on the page: it operates as a living apparatus, capable of being reinscribed in different contexts and of activating relationships between language, body, and presence.