The work of Carlito Carvalhosa predominantly involves painting and sculpture, ascribing deep eloquence to the materiality of the medium, and all the while transcending it to tackle broader issues. In the words of curator and critic Rodrigo Naves, “the movement that [the artist] conducts from a direct form-matter link—be it more constructive or more expressive—to its irremediable dissociation also incorporates many of the obstacles which contemporary art is being faced with.”
In the 1980s, Carvalhosa was a member of the São Paulo-based collective Grupo Casa 7, alongside Rodrigo Andrade, Fábio Miguez, Nuno Ramos, and Paulo Monteiro. Like his colleagues, he produced large paintings with an emphasis on pictorial gesture. In the late 1980s he made pictures using wax, either pure or mixed with pigments. Afterwards, he started making sculptures out of diverse materials, mostly organic- and malleable-looking ones. In the mid-1990s he made his “lost waxes” and porcelain sculptures. Carlito Carvalhosa sets out to expand the fields of pictorial and sculptural research in different ways, be it in his gypsum sculptures, be it in his paintings on mirrors, which the curator Paulo Venancio Filho has described as “paintings which put our presence within them.”
Born in 1961 in São Paulo, Carlito Carvalhosa lives and works in Rio de Janeiro. He featured in the 18th Bienal de São Paulo, Brazil (1985); the Havana Biennial, in Cuba (1986 and 2012); and the Mercosul Biennial, in Porto Alegre, Brazil (2001 and 2009). Recent group shows include: Experimentando espaços, at Museu da Casa Brasileira, in São Paulo (2009); Poética da Percepção, at the Museu de Arte Moderna do Rio de Janeiro (2008); and Da Visualidade ao Conceito, at the Instituto Tomie Ohtake, in São Paulo (2007), all in Brazil. Recent solo shows include: Shift, at the Sonnabend Gallery (2012) and Sum of Days, at the Museum of Modern Art (2011), both in New York, United States; and A soma dos dias, at the Pinacoteca do Estado de São Paulo, Brazil (2010). His work is included in Brazilian public collections such as those of the Pinacoteca do Estado de São Paulo; the Museu de Arte Moderna de São Paulo; the Museu de Arte Contemporânea de São Paulo, among others.