Brazilian Painter and sculptor Rodrigo Pedrosa works in his studios at Fábrica Bhering in Rio de Janeiro and in Niterói, RJ, Brazil, where he also teaches sculpture classes. With individual and collective exhibitions in Italy, France, New York and Vienna, among others, his sculptures, paintings and installations appear in collections in Brazil and abroad such as that of the Prince of Abhu Dabi, Zayed Bin Al Nahyan and the family of the Von Fink bank in Switzerland. Among his public works are the monument to Zumbi dos Palmares in Caminho Niemeyer in Niterói, RJ and more recently the monument to singer Clara Nunes to be inaugurated in Gávea, Rio de Janeiro.
On the Pedrosa’s paintings we can glimpse his most intimate questions about the directions that we are seeing our choices take us: to the abyss of loneliness, fear and even self-destruction. The ambiguity that permeated that set of sculptures and paintings is, in the relations that each set of paintings has, reflected in the selected imagery spectrum and described by the artist as a fundamental axis of his artistic investigations. It is clear to those who follow his production how hard it is to dwell on issues that deal with the human condition today. It is the artist who rises from the rubble and starts to denounce events whose bias clearly points to the bankruptcy of what we understand as civilization.
In their diptychs, the confusions that are created every day by the profusion of images that we find scattered on the world wide web are also evident. Rodrigo is lavish in perceiving, collecting, opposing, proposing, instigating the confrontation between them, because more than seeking to praise the image he seeks to highlight the relationship between different things and facts, a reflection that shows the reverse of events and its double, perhaps impossibilities that pose a challenge for the future: how to live together?
Shifting contexts is the leitmotiv of the exhibition that exhaustes the comparative gaze due to the absurdity of its premises that will require the observer to reflect, alterity, and visual amplitude. It will not be enough to review each canvas, even if they are restricted to a few elements, since the shape is just an appetizer, what matters is to unveil the layers of paint and reach the details of the invoice by its content. Rodrigo is side by side with contemporary artists such as the British Banksy or the Turkish Ugur Gallen in the construction of images that confront utopias and dystopias, chronicles of a liquid, uncertain time, yet to find their way.