Francesco João, untitled, 2017, gouache on raw canvas, 145 × 100 cm
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Francesco Joao’s practice indulges in the ambivalence of the pictorial method, stressing the duality between the immediacy, and the over-complexity of the medium. Immersed in a constantly-changing, hyper-evolving loop of reconfiguration, the medium of painting enduringly affirms its substance both through historical legitimation, and through the confrontation against fast-disseminated images adhering to the sphere of the digital.

The complexity of this specific gesture–painting–finds its reflection in Joao’s work, where the image is produced through the use of a complex schema of juxtaposed layers, which let forms emerge through subtraction. Delving deep into the calibrated tangibility of the canvas, Joao’s gesture is oriented towards the production of images functioning as ideas. The immediacy–say, the innocence–of painting is the actual core on which Francesco Joao’s work is grounded, i.e. the ability of delivering meaning without many formal obstacles, being also self-conscious when investigating the nature of the medium itself.

The canvases produced by the artist in these last years consist in the elaboration of a visual language that is disruptive in its sensuality and rawness. Gradient palettes and dreamy textures murmur secrets of escape, forgotten horizons, and rarefied galaxies–which layers and layers of gouache protect from the gaze of the viewer. In Joao’s work, the coalescence of the enigmatic and the pragmatic is tangible, as it is the association of simple, direct scenarios with extra-complications that often hijack the linearity of his paintings. This dualism triggers the idyllic mystery that is latent in Joao’s production– that feeling of aetherial fascination when facing the large panels wrapped in raw canvas.

Francesco João Scavarda (Milan, 1987) lives and works in São Paulo.
His exhibitions include Donkey Man, Mendes Wood DM, São Paulo (2017); Everything tends to ascend. Or not., Pivô, Sao Paulo (2016); Summertime ’78, Kunsthalle São Paulo, Sao Paulo (2015); Nimm’s Mal Easy, Ausstellungsraum Klingental, Basel (2015), Extra DRY, Peep Hole/DRY, Milan (2014), Dizionario di Pittura, Galleria Francesca Minini, Milan (2014), The Opposite of the Opposite Opposite of the Opposite, Gasconade, Milan (2012).


Solo Shows

Donkey Man, Mendes Wood DM, São Paulo, Brazil
Everything Tend to Ascend. Or Not., Pivô, São Paulo, Brazil
Summertime ’78, Kunsthalle Sao Paulo, São Paulo, Brazil
Extra DRY, Peep Hole, Milan, Italy
Studiolo#8, Cabinet, Milan, Italy  
The Opposite of the Opposite Opposite of the Opposite, Gasconade, Milan, Italy
Il Quarto Passo with Dario Guccio, Grand Hotel et de Milan / Spazio Oberdan, Milan, Italy

Group Shows

A Terceira Mão, Curated by Erika Verzutti, Galeria Fortes D’Aloia Gabriel, São Paulo, Brazil 
Neither. , Mendes Wood DM Brussels, Brussels, Belgium
Outdoor I, Warm, São Paulo, Brazil
Nimm’s Mal Easy, Ausstellungsraum Klingental, Basel, Switzerland
Dizionario di Pittura, Galleria Francesca Minini, Milan, Italy
Art-O-Rama, Marseille, France
Summer Painting Show, Il Crepaccio, Milan, Italy
One Thousand Four Hundred and Sixty, Peep Hole, Milan, Italy
Gasconade 2013 Portfolios, Pastificio Cerere, Roma, Italy
Don’t Be a Ham!! (Christmas Party), by Ari Marcopoulos, Family Business, New York, USA
Fuoriclasse, GAM Galleria d’Arte Moderna, Milan, Italy
Agenzia 200, UniCredit Studio, Milan / Trento, Italy
Roaming Off-Cells, Museo dʼArte Contemporanea Villa Croce, Genua, Italy
Gioberti1, MIlan, Italy 
Fuori Salone, Motel Lucie, Milan, Italy 
Crola. NoNo Wallpaper, Motel Lucie, Lucie Fontaine, Milan, Italy

Curated by Fernanda Brenner
Alessandro Carano, Francesco João Donkey Man