Fernando Carpaneda

ABOUT THE ARTIST


Carpaneda was one of the first Brazilian visual artists to divulge and exhibit systematically homoerotic works in Brazil. But since the 80s, his work hasn't been limited to this one approach only. Beggars, prostitutes, drug users, punks and outcasts of all kinds are the object of his attention and look. He portrayed them in clay sculptures and denuded them in what they possessed as sacred and profane. This plunge into street culture now gives voice to a new stage, in which his concern with the mutability of the body and the dualisms that define life - physical and spiritual, rational and instinctive, chaste or sexual - emerge. Formally, he has used an intransigent matrix of materials, exploring the potentially artistic use of the DNA, be it his own hair or that of his models, and blending it with wood, fabric, cement, stencil and canvases while preparing his sculptures and paintings. Carpaneda explores these paradoxes in conceptual and experimental works translated, most of them, into figurative form.

Memories, sentences, and spiritual and popular beliefs of his characters from the past now take part in the work of the artist. Carpaneda's new sculptures, paintings and drawings deal many times with the distant relation we have with our inner nature, accentuating the conflict between 'natural' and 'cultural', which have control over the contemporary psyche. Early in the year 2000, Carpaneda started a series of clay sculptures portraying scenes of explicit sex, pop stars and rent boys as a form of re-reading the aspirations of Greek and Roman statuary. Eleven years later, based on this concept the artist created a set of sculptures in an orgy entitled "Bolsonaro's Sex Party", which has become one of his most famous political works.


The Art of Fernando Carpaneda by Nicholas Forrest

I sometimes come across artists that I just have to let the world know about and Fernando Carpaneda is one of those artists, but be warned, because Carpaneda’s work is very confronting and will be not be to everyone’s taste. Those willing to keep an open mind and explore Carpaneda’s work will be glad they did because he is a truly amazing artist. A brave artist too. Brave enough to use rent boys, thieves, punks, goths, homeless people, and other unsavoury types as the subject of his work. If you are intrigued then please read on.When I first saw a picture of one of Carpaneda’s works I didn’t know what I was looking at. What I saw looked like a photo of a person but had a surreal element to it that suggested that there was more to Carpaneda’s work than the image revealed. As soon as I found out that I was looking at a clay sculpture I was completely blown away. The level of detail and the amount of work put into each sculpture is quite astonishing especially for a clay sculpture. To give each sculpture a personal association with the person they depict, Carpaneda uses objects connected to that person in the sculpture. Most of the people we see on a day to day basis whether it be at work or at social event dress and prepare their appearance so that the look as one would expect a normal person leading a normal life to look. Most of the people that Carpaneda depicts, however, dress and prepare their appearance in a way that reflects their true personality.These are the sort of people one would normally want to stare at but would try and refrain from doing so because we are taught that it is rude to stare. Instead of depicting the perfect male figure that most people are familiar with as a result of classical sculptors, Carpaneda utilises classical methods and materials to construct highly detailed analogues of what many would consider to be the outcasts of society. A classical sculpture of a nude male figure is an image that almost everyone is familiar with and is able to view without feeling uncomfortable, embarrassed or repulsed. A sexualised image of a homosexual male, however, is a totally different story. Carpaneda’s sculptures challenge our perceptions of gender and identity as well as questioning the labels that society put on people who do not conform to the accepted norm.Yes, his work is confronting and will not be to every one’s liking but it is undeniably the work of a talented artist who is not afraid of challenging the boundaries of artistic practice and confronting viewers with the issues of stigma and division in modern society.

Nicholas Forrest is an art market analyst, art critic and journalist based in Sydney, Australia. He is the founder of http://www.artmarketblog.com, writes the art column for the magazine Antiques and Collectibles for Pleasure and Profit and contributes to many other publications.http://artmarketblog.com/2009/07/06/the-art-of-fernando-carpaneda-artmarketblog-com


Fernando Carpaneda has exhibited in many important group and solo exhibitions internationally including "We are a Museum" - The Leslie Lohman Museum of Gay and Lesbian Art - Soho, New York, (2011), "SUPERNOVAS"- Andy Warhol Superstars & the Anté Art Movement, Chelsea Hotel, New York, (2009), DIRTY SHOW International Erotic Art Exhibition - Bert's Warehouse Theater, Detroit, MI (2009), Bridge Art Fair/During Art Base/Miami-represented by The Barbara Ann Levy Gallery, Miami (2008), Gazelland Art Issue - Leo Kesting Gallery, New York (2008), The Erotic Heritage Museum, Las Vegas, Nevada (2008), The Cherry Grove Walk-MT-Guided by Peter Downes, Deputy Director of Brooklyn Museum and curated by The Barbara Ann Levy Gallery, Fire Island, New York (2008), “Todos Somos Um” - Armando Álvares Penteado Foundation, FAAP and ESMPU, Brasília, DF, Brazil (2008), MF Gallery Genova "VOGLIO IL TUO TESCHIO", Italy (2009), “Back to the Bowery ” group show with Andy Warhol Superstars - CB’s 313 Gallery - CBGB - Noho, New York (2005), The Tom of Finland Foundation, “Erotic Art Fair”, New York (2005), Mocada Museum - Brooklyn,New York (2001), Bienal Artshow - São João da Boa Vista, São Paulo, Brazil (2000), Brazil and United States Association” ACBEU Art Gallery, Salvador, BA-Brazil (1999), Oscar Seraphico Art Gallery-Brasília,DF-Brazil(1996), Anglo American Cultural Center, Brasilia, Brazil (1982).