About the artist
Flávia was born in São Paulo, Brazil, in 1978 and after studying at EPA (Panamerican School of Art, São Paulo) has been working as an artist since 1995. She majored in Publicity and Advertising and worked for 9 years in the creative departments of advertising agencies. Nowadays Flavia works as an artist in her own Studio. Her experience with different media and different places creates in her work many novel and interesting characteristics.
A critic’s view
"Artists have a peculiar and privileged reading ability towards the world and reality they live in. The poetic gaze of Brazilian artist Flávia Vazzoler Miranda brings about a sensitive revelation of nature and the city in which she lives today, Stockholm. It is from this context, that the series of works produced by the artist between 2008 and 2010 is gathered.
To fully grasp the span of Flávia’s path and work – like we see in the work of young artists – it is important that one considers her thoughts and the influences on her creative process. In the case of Flávia, her aesthetic ideas and fundamental concepts of art, are grounded in her ongoing research and experimentation, and her training and experience in the field of art and graphic design, which allow her ease when it comes to communicating through images.
The Brazilian social and cultural environment where Flavia comes from reflects warm weather, intense interpersonal relationships, and close contact with the social hardships of a metropolis like São Paulo, within a developing country like Brazil. The implementation of these values to Stockholm and Sweden, country of cold weather and one of the highest HDI in a politically and culturally advanced society, naturally oblige Flávia to think about this sudden change.
The warm Brazilian colours and the distant view of the urban environment of Stockholm linger in her work, through the filter of the window of her home, a sensitive reinterpretation of these major changes in her life. Her unique way of grasping the contemporaneity dissolves possible aesthetic limitations towards a concept of art that enables a bridge between painting and the world; a world she sees through the windows of her home, with a more playful and loose rendering of the forms and warm colours typical of her Brazilian origins.
Thus, colour and light are the main elements in her visual representation, which also refers to a retroactive reflection of impressionist masters of modern art and jolts towards a language of its own, one of dissolution of the actual images to the building of a new one: intense and magical. Therefore, any systematic attempt at realism is discarded in Flávia’s paintings. Most noticeable are the different sensory meanings that suggest games of light and color, other than the objective representation of reality. However, it is from reality that the artist builds the subjective image of the new scenario in her pictorial space. Art, nature and life share the same space."
Ana Cristina Carvalho
A.I.C.A. member (International Association of Critics of Art)
ABCA Vice-president (Brazilian Association of Critics of Art)
What I think about painting?
The world is crazy. Today with the pace of everything - surrounded by unending amounts of information, in a world seemingly on fire with activity - stopping to look, seeing what is happening around you or even thinking about yourself is very difficult. I see that people are overly connected to their mobile devices, forever surfing the world and forgetting that the world is physically around them. And the simple things go unnoticed.
In my vision painting will make people stop for while or at least slow down. Art may seem just a simple gesture, but is motivated by many goals, desires and stimuli; energy, deep feelings, creativity, your experiences of the world around you, of what you learn and discover, and afterwards you bring everything together into a concentration of shapes, colors, light and shadows, something physical and concrete.
Each project has its own energy, number of strokes, amount of ink, process of execution, layers, or even a slight "mistake" which transforms our confusion of stories, associations and stresses and transports us into another state of mind, that of contemplation, of observation, to the simple act of looking without thinking.
In my view, I would like to show more than just the commonplace, while also trying to do "what has already been done" according to a more contemporary outlook and my interpretation of it and portraying what has been portrayed in my own way and conveying the feeling that it has all been done with great haste and excitement.