I’m interested in social issues because this is part of my own history with painting and as a person – my aesthetic interests overlap with these issues. If you live in Brazil, these socio/political questions are part of your day-to-day. I’ve expanded my painting into space. My work already had this character due to its architectural scale and my personal research into vernacular and popular architecture."
– Paulo Nimer Pjota
Paulo Nimer Pjota’s research-based practice means he is always working on multiple pieces at the same time. He has a particular interest in the search for correspondences between the past and the future. As the artist identifies these historical crossovers, he uses them in an attempt to explore and understand the present. His research into historical iconographic structures bridges the divide between our collective imagination of art history and the universe of Western mass culture. Using metal plates and raw canvas...as a support, the artist gathers and deploys these constellations of images that surround him in an exercise of cultural cross-referencing.
This pantheon of Western iconography, which moves through popular and high culture,allows Pjota toweave a rich tapestry of references which, in one way or another, represent institutional authority. These images are drawn in a hyper-realistic way in order way to match the aesthetics of the stickers that he finds in the streets of São Paulo, which he then applies onto his compositions. The mobility of these stickers reflects the fluid values and interpretations that these modern-day icons can have, whether sacred or ordinary. Placing them in a new context results in a rhythmic temporal displacement that conflates images of Sumerian gods with cartoon characters from the 90s.
Videos de la Exposición
Inside the Studio: Paulo Nimer Pjota, 2020
Entrada actualizada el el 18 mar de 2021
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