Rafael Silveira is a multifaceted artist: within him, there simultaneously are the ancient and the futuristic, the handmade and the digital, the traditional and the transgressive. The Delirious Foam [Espuma Delirante] exhibition is a confrontation between these extremes and generates creative energy that instigates thoughts and stimulates sensibilities. For Rafael Silveira, first of all, to make art is to be inventive. Nothing is so solid that it cannot melt into the air. Thus, a strong oil painting on a wooden frame can pretty much turn into an insect and start to fly. In the Delirious Foam [Espuma Delirante] exhibition, the surrealism of this scene takes on surprisingly real contours. The dream is the raw material of Rafael Silveira’s work, as well as its landscapes, alleys and meanders, and beings and entities. Silveira is an artist often identified with the artistic movement of Pop Surrealism which would be an updated version of the art movements that deal with archetypal images and value their symbolism. Delirious Foam [Espuma Delirante] is an immersion in the oneiric universe proposed by the artist.
Silveira learned to paint using the traditional oil painting technique, which includes mixing dyes and binders and manipulating linseed oils and turpentines to achieve densities and depths in classical perspectives and sfumatos. His artisanal and perfectionist painting could indicate an ancient soul, but, nevertheless, the painter is someone who has nothing old-fashioned about him. This is the artist who has learned to use the most up-to-date technological tools to create digital brushstrokes on his tablet and animate his creations through the most sophisticated computer programs. Delirious Foam [Espuma Delirante] is a multiple media exhibition in which languages such as sculpture, painting, video, mapped projections, and site-specific are all there. The hybridizations, which transform frames into sculptural objects, sculptures into screens for video projections, and ambient noises into soundscapes, are all mixed in a unique and immersive environment the respectable public is also part of as soon as it enters the scene.
About the artist
Rafael Silveira was born in 1978. The artist lives in Curitiba, where he maintains his studio. He started his career in the 90s as a graphic designer and has since then illustrated many fanzines, magazines, beverage labels and record covers, among others things. In 2007, he received the Max Pfeffer Design Award. His graphic and digital work is internationally recognized and can be considered one of his artistic work pillars. Silveira is a multimedia artist who combines, in his creative process, traditional painting and sculpture techniques with digital knowledge that involves high technology. Since 2007, he has exhibited his work on a regular basis in cities such as São Paulo, New York, London and Milan. His art is worldwide represented in private and institutional collections such as the Museum of Modern Art in Rio de Janeiro and the Oscar Niemeyer Museum in Curitiba. His Circonjecturas exhibition took over two hundred thousand people to museums in Curitiba, São Paulo and Brasília. In 2016, the publisher Sesi published a book containing an essay by the curator Agnaldo Farias, which analyzed a decade of Silveira’s trajectory. His work has been featured in numerous magazines, including recent articles in the virtual magazine Colossal, in the Australian Beautiful Bizarre, and on the New York Times cover.
Since the early 2000s, his artistic production has gone through a couple of phases: the first one is characterized by the enchantment with meticulous fabricated oil painting; followed by the phase in which the artist deconstructs the traditional carved wooden frame canvas in order to develop new designs that merge painting and sculpture in original objects. After his first exhibitions in important museums, Silveira started directing his artistic production towards larger-scale works and architectural installations by incorporating wall illustrations, sound effects, kinetic movement and the public’s interaction with the pieces. In the current phase, which can be seen in the Delirious Foam [Espuma Delirante] exhibition presented at Farol Santander in 2022, Silveira adds new elements to his already complex repertoire: from the walls to the sculptures and the painting-objects, the entire exhibition space is taken over by video projections and digital animations which were all produced by the artist himself. In this exhibition, Silveira shows that his oneiric universe has become even more alive with the aid of technology, and, as a result, the public’s experience has become much more vibrant.
About the exhibition
Delirious Foam [Espuma Delirante] is an exhibition in which every inch was designed to provide visitors with an immersive experience of multiple sensory stimuli. Even before entering the exhibition room, a graphic hallway welcomes the public with a psychedelic provocation. The whole exhibition is planned with interconnected environments which are integrated by a combination of elements that enhance the immersive impact: lighting, sound, moving images, melted sculptures, animated walls, paintings that blink at us… all these elements which combined form new sensible ways of experiencing an art exhibition.
At the exhibition, we do not see frames with static images of solid paintings but screens on which ethereal images are projected in subtle movement, in other words, an innovative transformation of painting into video. In addition to the images in motion, sculptures representing ice-creams are spread throughout the exhibition space. They even invade other areas by dripping down through the floor and walls, flooding the Farol with a sweet, refreshing and delirious foam.
About the curator
Baixo Ribeiro is an art curator specialized in interactive exhibitions, collaborative processes and public space presentations. Since the 2000s, he, who has a background in architecture and urbanism, carries out pioneering contemporary art programmes. Among his works, there are exhibitions, seminars and festivals in association with important Brazilian and international institutions, such as the Cartier Foundation, the Stiftung Brasilea, the São Paulo Art Museum, the AfroBrazil Museum, the Iberê Camargo Museum, the University of São Paulo Rectory, the Education and Culture Secretariats of several states, cultural institutions such as SESC, SESI and SENAC, and the Farol Santander, among others.