Bianca Conducting Souls, 2009 seriesCopyright (c) Caio Fernandes /All Rights Reserved
When I was 13, the year I fell in love with photography, I also discovered North American realism in painting, literature and photography. Here in São Paulo, we are sons and grandsons of Europeans that came here after the wars. The European sensibility and aesthetics are still very strong among us. I was taught all the "isms" of the 20th Century that came from the old continent, along with the most popular work from the USA, such as Abstract Expressionism, Pop Art...but after "In The American West", I saw that art could be very mature, even sober, without losing the power of expression. Today it sounds obvious, but at the time it really blew my mind.
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CAIO FERNANDES, born in São Paulo, Brazil in 1975, studied Psychology, Art and Photography at both the University of São Paulo and at Brazil's most prestigious school for Art and Architecture, the Fundação Armando Alvares Penteado (FAAP). Studying under artists Evandro Carlos Jardim, Claudo Mubarack and Elisa Bracher, he worked as studio assistant to Ms. Bracher for a short period preparing exhibits for Germany and Rio de Janiero.
Fernandes' work is sometimes described as Realist, "though the sheer intensity of his work sets him apart from most contemporary Realist painters. With a highly individualistic style of painting, Caio reveals the raw physical characteristics and inner tensions of his subjects. A strong interest in Kardecist Spiritism, which proposes an intricate set of perspectives of the "self", is apparent in his self-portraits. Though Caio affirms that a self-portrait can only be considered as a visual reflection of himself, "There is no conceptual speech behind it," he believes strongly that the only important thing is the painting itself."
Fernandes' work is sometimes described as Realist, "though the sheer intensity of his work sets him apart from most contemporary Realist painters. With a highly individualistic style of painting, Caio reveals the raw physical characteristics and inner tensions of his subjects. A strong interest in Kardecist Spiritism, which proposes an intricate set of perspectives of the "self", is apparent in his self-portraits. Though Caio affirms that a self-portrait can only be considered as a visual reflection of himself, "There is no conceptual speech behind it," he believes strongly that the only important thing is the painting itself."
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