Bella Nardini
Artist of encounters. Designer of rituals. Creator of experiences that leaves a trace.
Bella Nardini moves between spaces and worlds — streets and screens, intimacy and cities, rituals and systems — designing experiences that bring people closer: to themselves, to others, and to the world around them. Her work opens space for beauty and possibility while turning people on.
Her practice lives at the intersection of art and life. Through participatory performance, walking rituals, and ephemeral interventions, she explores how presence, vulnerability, and poetic disruption can reshape human relationships. Her projects have unfolded in the streets of Paris, the alleyways of Marrakech, the cloud of Zoom, and the gardens of Inhotim — always grounded in the belief that every encounter holds the chance to shift something essential.
Through this work, Bella has lived in São Paulo, Florence, Venice, New York, and Bucharest, and created projects across Rio de Janeiro, London, Athens, Milan, Costa Rica, and Morocco.
WORK EXPERIENCE
She was the Global Experience Designer at Mesa Company, working closely with teams from Google, Spotify, Meta, Nestlé, Coca-Cola, and others — solving complex challenges by unleashing human potential. She co-designed a ritual later adopted by the jury of the Cannes Lions Festival, proving that the invisible can shape even the most high-stakes decision-making.
As Experience Director and Curator at Unfinished Festival, Bella created encounters for public thinkers such as Esther Perel, Daniel Jones (Modern Love, The New York Times), and Perry Chen (Founder of Kickstarter), and curated spaces where people from over 60 countries met through curiosity and presence, not performance.
She has been invited as a mentor at Kaospilot, the pioneering school of experience design, and continues to collaborate with organizations like Grupo Boticário and Riachuelo — shaping culture through powerful, simple rituals.
Her work has been featured in Folha de São Paulo, Estadão, Glamour, Veja, UOL, TV Cultura, and others.
“Art, for me, is not a commodity — but a powerful tool through which we become more permeable, more available to be affected, moved, and transformed by the people and places around us”.
She works in the tension between tenderness and provocation, structure and surrender — designing fleeting rituals that become unforgettable not because they are loud, but because they are precise.
Not because they impose meaning, but because they reveal it.
Not because they last — but because they leave a trace.