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Fábio Carvalho

Fabio Carvalho, an artist from Rio de Janeiro, was part of important emerging production mapping projects in Brazil in the 1990s, when he began his career.

He has held nine solo exhibitions and has participated in more than eighty collective exhibitions, both in Brazil and abroad: in Berlin, Frankfurt, Guelnhause (Germany); Buenos Aires (Argentina); Havana (Cuba); Cuenca (Ecuador); New York (United States); Budapeste (Hungary); Lisbon, Porto, Cerveira (Portugal); Prague (Czech Republic); London, Cardif (United kingdom).

The artist participated as well in Residências Artísticas Bordallianos Brasileiros – Faianças Bordallo Pinheiro, in Caldas da Rainha (2011), Projeto Artistas Contemporâneos – Porcelana Vista Alegre, in Ílhavo (2011), and “Maus hábitos”, in Oporto (2012), all in Portugal.

Fábio Carvalho has more than sixty of his works in public and private collections in Brazil and abroad. Besides having critical texts written by Angélica de Moraes, Daniela Bousso, Nelson Brissac, Tadeu Chiarelli, Katia Canton, Dodora Guimarães, Fatima Bercht (USA), Ken Johnson (EUA), Reynaldo Roels Jr. and Marco Veloso, among other, the artist has had some of his works reproduced in several publications such as G Magazine, March/2012; the catalogue SENAI Moda & Design/ FIRJAN, September/2011; Santa Art Magazine n.° 7, 2011; the summer fashion catalogue 2012 – ASSINTECAL; Modo de vida magazine , May/2010; the cover of the book As cidades da cidade, 2006; Bravo! Magazine, March/2003, besides several art catalogues.

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Floreiro Archeiro

The "Floreiro Archeiro" piece, whose starting point is the "Archeiro" vase, is the result of a collage of elements from several other pieces which together make up a new piece. All the details of the "Floreiro Archeiro" are original creations of Bordallo Pinheiro, or from those who followed him. However, the painting colours were changed, turning the Portuguese goldfinch into a canary from Brazil. The archer’s uniform lost the original colours, and received the uniform colours of Empire Brazil. This is a piece that, although perfectly inserted in my work poetics, where I usually counter stereotypical elements of strength and masculinity with elements traditionally seen as feminine, I believe it is still a piece that is very faithful to Bordallo Pinheiro. This is a distinctly decorative piece, but at the same time utilitarian; it has a use, a function. Moreover, the piece will only be ready when its owner completes it by using it as a flower box. So, each copy of the piece will be different from the others, depending on the flowers and use that the owner prefers to give it.