Even though Lídia Lisbôa has been trained in sculpture and painting, performance is the central element of her practice. From the connection to performance arises her different artistic languages, such as the sewing, crocheting, mooring or assemblage of fabrics (mostly) or other disposed materials. In this process, the created object closes the circle, inspiring the artist to execute a new performance or performative action. In this room, where a brief and tangential reference to the experience of being in the artist’s studio is carried out, Lisbôa presents a set of works using these different languages: Cicatrizes, with its volume and explicit sewing; Chorões and Cordões - umbilical for the artist, an articulation of ceramic pieces and doll body parts; Cupinzeiros, a set of ceramic sculptures giving access to her childhood stories in the countryside of Paraná; and Casulos, the small ones being a reference to the uterine space, and Casulo, the big one being a crochet object commonly activated by the artist in some of her performances. Her practice enables us to glance at a possible transition from the object to the performance, as a formal artistic strategy and feminist tactic.