This dissertation investigates the transposition of animal-derived materials used in theimmolation rituals of Afro-Brazilian religions into three-dimensional art, aiming to fostera critical reflection on the representation and position of Afro-diasporic art within thecontemporary artistic scene. The research focuses on artistic practice in both religiouscommunities and art institutions, where symbolic elements — such as leather, feathers,bones, fibers, and shells — fundamental to African-derived religious practices, intersectwith my creative process. The study looks to understand the specificities of thesematerials and the tensions arising from their use in Afro-diasporic art production,reflecting on the paradoxes between tradition and contemporary artistic challengesthrough an analysis of my own contemporary artwork. Furthermore, the researchhighlights the significance of experiential engagement within religious communities,showing how these practices strengthen sociocultural belonging and contribute to artisticcreation. The dissertation thus proposes a dialogue between artistic practice, enriched byimmersion in African-origin communities, and contemporary forms of artistic expression,recovering and reinventing ancestry in three-dimensional art production.Keywords: Abject, afro diasporic art, Contemporary art, Religion, Rites of immolation.