The work of Brazilian artist Rafael Silveira is somewhat contagious, as if his passion from spreading vision to canvas was captured in some way among those melting popsicles, rose-mouths and flirting birds. Then, that passionate person draws ricochets to the audience, curling gently on our lips. Most of his whimsical work can be compared to Magritte, one of the most iconic surrealists in history who often combine unlikely objects, floating in spaces commonly used for facial features (think apples, oranges and bird cages should be heads should be heads). However, with Magritte using a softer palette, Silveira has a marshmallow color that can almost slide off the canvas. In his scene, in the magenta and emerald sky, the unparalleled bust is surrounded by friends who are oval or feathered. We will also find trees with branches and legs with their eyes dripping from the table. (Maybe nodded a little to Dali?)
It seems that Silveira’s sensation in imagination has no limits. He said: “I’ve been painting since I remember, and my thoughts are full of chaotic imaginations, blending everything around me, as if everything has melted and merged, including my thoughts and memories. I believe I started to imitate my sister to draw.”
Growing up, Silveira didn’t think she was particularly skilled. Yet his obsession stimulated him to shed light on unusual images that permeate his (still) buzzing thoughts in any way possible. When he was young, he began creating humorous magazines (influenced by Crazy and Robert Crumb), working as a graphic artist, working in design, advertising and illustration. In today’s work, we may still notice traces of this nervous rendering, but his use of the brush allows for extra dimension and freedom of expression, thus more suiting his style.
It was his sister who turned from graphic art to painting. Unfortunately, she is a talented petroleum painter such as landscapes and still lifes, but she died at the age of thirty-three, which made a great impression on Silveira. Silveira picked up the place she left on the easel and Silveira sublimatedly feels that she keeps her creativity alive. He shared: “A year after her death, I started painting. It seemed as if her paint had kept it, hovering over the family, slowly melting and blending with my soul. About two years of painting, I quit my formal job to become a full-time artist. It was 2009. It was in 2009.”
