Osvaldo Carvalho: False Symmetry - Janaina Torres

São Paulo Brasil

Osvaldo Carvalho

False Simmetry

In False Symmetry, Osvaldo Carvalho explores dissymmetries in painting – such as the use of distorted perspectives, “wrong” colors and disproportionate divisions – in order to warn of profound imbalances in the social and environmental spheres. Essentially a painter and the owner of a direct poetics, without subterfuge – you see what you see -, Osvaldo maintains, in his new works, the verve and pop acidity that characterize him, achieving plastic and saturated colors, and looking at mass culture and the environment, in works that capture the vision at the same time as awakening consciences, addressing themes such as inequality, racism, urban violence and ecology.

MAR 18 — MAY 13

Curator: Cadu Gonçalves

VIEWS

WATCH

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FALSE SYMMETRY – Osvaldo Carvalho reveals the backstage of his work in Rio de Janeiro and talks about his paths in the visual arts, the exhibition produced during the pandemic and the idea of false symmetry in art and life – and why we should overcome it

WORKS

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Os Negacionistas

Osvaldo Carvalho
Os Negacionistas, 2022
Acrílica sobre tela
188 x 192 cm

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Um Defeito de Cor

Osvaldo Carvalho
Um Defeito de Cor, 2020
Acrílica sobre tela
191 x 186 cm

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Hotel Haiti (Série Terra Prometida)

Osvaldo Carvalho
Hotel Haiti (Série Terra Prometida), 2013/2015
Acrílica sobre tela
192 x 305 cm

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Valdez (Série Terra Prometida)

Osvaldo Carvalho
Valdez (Série Terra Prometida), 2015
Acrílica sobre tela
195 x 219 cm

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Cárites

Osvaldo Carvalho
Cárites, 2020
Acrílica sobre tela
130 x 191 cm

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Público Alvo

Osvaldo Carvalho
Público Alvo, 2020
Acrílica sobre tela
141 x 223 cm

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Danae & Perseu

Osvaldo Carvalho
Danae & Perseu, 2022
Acrílica sobre tela
186 x 192 cm

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Pele Negra Máscara Branca

Osvaldo Carvalho
Pele Negra Máscara Branca, 2020
Acrílica sobre tela
170 x 190 cm

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Goodfellas

Osvaldo Carvalho
Goodfellas, 2016
Resina, isopor e tinta acrílica
19 x 50 x 14 cm

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Balafálica #1 (Série Balafálica)

Osvaldo Carvalho
Balafálica #1 (Série Balafálica), 2019
Escultura em madeira maciça (peroba)
23.50 x 7.50 x 7.50 cm

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Balafálica #2 (Série Balafálica)

Osvaldo Carvalho
Balafálica #2 (Série Balafálica), 2019
Escultura em madeira maciça (peroba)
19 x 6.50 x 6.50 cm

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Balafálica #3 (Série Balafálica)

Osvaldo Carvalho
Balafálica #3 (Série Balafálica), 2019
Escultura em madeira maciça (ipê)
19 x 8.50 x 8.50 cm

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Balafálica #4 (Série Balafálica)

Osvaldo Carvalho
Balafálica #4 (Série Balafálica), 2019
Escultura em madeira maciça (ipê)
18 x 8 x 8 cm

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Balafálica #5 (Série Balafálica)

Osvaldo Carvalho
Balafálica #5 (Série Balafálica), 2019
Escultura em madeira maciça (angico)
17.50 x 7 x 7 cm

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Balafálica #6 (Série Balafálica)

Osvaldo Carvalho
Balafálica #6 (Série Balafálica), 2019
Escultura em madeira maciça (maçaranduba)
23 x 7 x 7 cm

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Balafálica #7 (Série Balafálica)

Osvaldo Carvalho
Balafálica #7 (Série Balafálica), 2019
Escultura em madeira maciça (maçaranduba)
23.50 x 7 x 7 cm

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Balafálica #8 (Série Balafálica)

Osvaldo Carvalho
Balafálica #8 (Série Balafálica), 2019
Escultura em madeira maciça (peroba)
19 x 6.50 x 6.50 cm

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NEWS, ETC.

BIO

Like an archaeologist of his time – a time of virtualities, algorithms and fragments – Osvaldo Carvalho’s painting tries to capture the thread of here and now, what remains and what is to come, in a pop atmosphere populated by colors, figures, fractures and contradictions. A contemporary artist, Osvaldo Carvalho (Niterói, 1976) uses a myriad of images and references from culture and mass communication, such as cinema, the media, the internet, comics and advertising, to produce works rich in color and signs, in which he explores not only the visual vocabulary of our time, but the contradictions of an imaginary crossed by ideologies, conflicts and power. Osvaldo populates his canvases with human figures, animals, household objects, decorative items, urban landscapes, graffiti and well-known brands, arranged on the canvas not always in proportion and often situated on backgrounds with striking patterns, such as wallpaper, or on undefined and fluid spaces – producing tiny figures, like pixels that gravitate on textured colored backgrounds.

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Or he arranges the elements in the frames of a storyboard, creating narratives that can take place in the frames of a single canvas, or unfold over several canvases within the same thematic series. Osvaldo thus creates a pop atmosphere of color and movement, sometimes acidic and lysergic, in fragments of scenes, situations and everyday details that are the fruit of a free imagination. Osvaldo doesn’t shy away from events and his point of view – the artist paints from the northern zone of Rio de Janeiro – addressing issues such as the black and indigenous question, social inequality or urban violence, often in direct reference. But he does so in exclusively pictorial territory, aware that he operates in an environment of saturated images, seeking to engage the weary viewer through a vibrant palette and provocative angles and ideas, in associations and overlays of elements that are not always random and never innocent.

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