Archive for the FLIP arte br Category
“Shunga Pop” is Felipe Yung “Flip”’s first solo exhibition in London.
The artist shows the ironic aesthetics of pop art within a particular universe such as oriental pornography.
There are indicators that the production of erotic drawings denominated Shunga (cent. XVI) was meant exclusively for the court. It took hundreds of years for this art to be popularized and the purpose of such images were not exclusively for pleasure and visual stimulus, but also for sexual education from foreplay practices to proper hygiene. In the Western World, they would have probably been censored due to its explicit and out of proportion sexual organs.
Flip is part of Famiglia Baglione and lives in São Paulo, as cosmopolitan a city as New York and London, home to the largest Japanese population outside Japan. Due to his multiple cultural roots, the artist has great admiration and is largely influenced by the oriental culture and philosophy, a constant element in his artwork.
The exhibition features paintings executed on handmade paper originally printed in Kyoto, Japan. In a malicious way the images lacking decorum suggest paradoxes, once there is dialogue between sexual elements ibrandtand childish characters and vibrant patterns.
Pure Evil Gallery,
108 Leonard st,
London EC2A 4XS
10am – 6pm daily
or by appointment.
Amongst large brushes and paint, Felipe Yung cultivates roots, reasons in organic textures in a singular way and brings to paper uniquely shaped images, influenced by his tireless researches on Asian culture. His history begins at the neighborhood of Vila Mariana in São Paulo, and it reaches as far as Moscow. Paintings and spray-paints, which transcend trends and tell the history of Brazilian Graffiti.
His work permeates various worlds. Flip works through the peaceful coexistence of certain oppositions such as figurative and abstract. In a contemporary gesture he conjugates figurative and abstraction, such as his painted trees which when seen up close are no longer the figure of a tree but abstract lines, camouflage.
It’s also in the key of life and death that the artist works the question of pop in his figure. Solid beings containing high dosage of popism which on their peculiarity demonstrate an indescribable frailty, many times having us think that were they to leave the walls which they were painted on, they wouldn’t have much time left in life. Nothing more alive and spontaneous than pop and culture, but also nothing more fleeting.