Chuva de Pão

Solo show by Simão Mota Carneiro

Pliny the Elder preferred earthy, Mediterranean tones to the exuberant blues of the Orient. On the walls of Lascaux, the reddish-brown animal figures remained hidden, displaying the palette of local oxides and piles of earth to no one. The nose of Marcel’s Robot has brought them back to our gaze, having crossed oceans of time. The deep, flooding grayish blue in “Chuva de Pão” may have pleased Pliny because the color is modulated in mist, the vibration is muted, and the fog, in turn, becomes luminous. Bread, baguette, and brioche introduce us to the lightened ochres, sometimes falling, levitating.