Alberto Pavan Art

My work. Men playing

The most recent work

I have spent 3 months in a small village at the North-East of Brazil. This place has influenced my paintings much more than I would have ever imagine. A land where gods and demons join together to walk side by side with the people, where the Christianity mixes with African goods and give life to a generation of saints, demigods and mythological figures that populate the land, and trouble or delight us, the people, with requests, demands, each with different characteristics, some nasty, some helpful.

The colours in the tropics are very vivid. The sand is gold, the heat intense, the green jungle is at your door step.Insects of all sizes, shapes and colours are impossible to control; people wear very little clothing.a lot of flesh is always visible. It makes the place very sensual, rich of all emotions. A place of extremes, of contradictions, very rich and very poor, modern and ancient, joy and sorrow, comfort and hardship, primitive and slick, sex and death. Pagan in its essence, Christian in the packaging.

My work. The Boto

My work. Swimmer

My work. A distorted reality

Reality is not real This is a framed drawing I completed during my stay in Pipa beach . At the time I was collecting a lot of information over how our 5 senses are the only window we have available to perceive the external world. But it is a close circuit. Our sight, hearing, tact, and olfactory systems make a close circuit with our brain. We assume that what these senses report to the brain are external informations, but that is merely an assumption. In the same way a sophisticated head-set can plug us into a different virtual dimension our brain plug us into this one. We now also know that our senses are far from objective and far from perfect. They evolved in order to make us win the survival game in this environment. In order to survive, mankind didn’t need to comprehend the cryptic codes under which reality was unfolding, in the same way, in a virtual reality game, the gamer does not need to understand the programs that inform our avatars to escape an enemy or to collect supply needed in order to win the game and access the next level.

Too much information could have been contra-productive. If our ancestors were distracted to understand codes and study the passages that make this reality real, they probably would have been eaten by bears and wolves and would have had no time to refine their survival skills. It was much easier to evolve in a way that our senses perceived symbolically represented information than to be able to see what was there objectively. We evolved to see dangers coming at us in the form of a logo, a symbol, in order to make the fast choice of fighting or fling In the painting, a young man is experiencing the wonders of a day at the beach under the sun. But, under this curtain of images, lay beneath the crude code that programme the sensation and the experience.

My work. Vanity

My work. Cangaceros

My work. 3 views with vain boys

My work. Swimmer 2

My work. Menino da Pipa

My work. Lampiao

My work. The gnostic 2

My work. They don’t know, i don’t know

My work. The balcony

My work. A woman with coffee maker

My work. A distorted reality

My work. A goddess

My work. Bacanal 1

My work. Dimensions and connections

My work. A view

My work. Bad sisters

My work. Mother 3

My work. A praia

My work. Golfin

My work. A copy of Judith

My work. Black holes in town

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