I want to create work that is as arrogant as the moment we are living in, but that has the humble docility of eternity. I want to grab and squeeze my thoughts, suspend empathy and become a detached observer of this amazing spectacle that is our time.

Glauce Cerveira bibliography images


  • Brazilian Knots, Gallery 32 2003-2006, Ed. Luis Felipe Fortuna, Brazilian Embassy, London 2006
  • BBC2, A week of dressing dangerously, London, 28.9.2005
  • Leros Magazine, April Issue, London, 2005
  • Leros Magazine, May Issue, London, 2005
  • Leros Magazine, August Issue, London, 2005
  • Dicionario de Artes Plasticas no Rio Grande do Sul, Brazil 2005
  • Contemporary Art Project, catalogue, London 2005
  • 22 Art & Space, Exhibition 22 catalogue, London 2004
  • Viewpoint Magazine, issue 15, London 2004
  • Arte Fiera Bologna, catalogue, Italy 2004
  • Sense & Nonsense, exhibition catalogue, London 2003
  • Platform for Art, Go to the Gallery Project, London Underground Poster, 2003
  • Art Tomorrow, Edward Lucie-Smith, Vilo International, 2002
  • Financial Times, London 29.09.2002
  • Tank Book, Best of Tank, Thames & Hudson, London 2002
  • Art 2001, exhibition catalogue, London 2001
  • Dicionário de Artes Plásticas no Rio Grande do Sul, Brazil 2000
  • Tank Magazine, issue 8, London 2000
  • Independent, London 28.02.1999
  • Dark Star, Esther Planas, London 1999
  • Perfume, exhibition catalogue, London 1999
  • London, exhibition catalogue, Norway 1995
  • Moss Dagblad, (daily newspaper), Norway 6.10.95
  • Moss Avis, (daily newspaper), Norway 6.10.95
  • Dagens Naeringsliv, (newspaper), Norway 7.10.95
  • Moss Dagblad, (daily newspaper), Norway 9.10.95
  • Moss Dagblad, (daily newspaper), Norway 16.10.95
  • Billedkunstnereu, (art magazine), Norway 8.10.95
  • Dagbladet, (daily newspaper), Norway 30.10.95

Brazilian Knots Gallery 32 2003-2006

First published 2006, Brazilian Embassy in London

Paintings have to have a beginning. The ones here start their life as a response to an image or thought, a facet of a conceptual whole that binds them together. In this series of works, fashion is being used both as the subject and as questioning of contemporary behaviour. The 'contents', be it balloons, shoes, cloth or armours, are deliberately disquieting. Their physical presence at the surface of the painting is not one of comfort. The hat eclipses the woman; we do see what she wants us to see, but this does not hold and perhaps what we are left with is an awareness of her insecurity.

Again in 'Comfort and Joy', the red shoes at first gain our attention, but their elegance is replaced by the fear and pain of negotiating this particular painting surface, which is patterned with 'visual holes'. In "Hot Must Have", we sense the human presence, but the spatial relationships within the canvas negate any interaction. Colour comes forward suggesting slogans or advertisements that occupy the remaining surface. It is a void in which a shimmering ghostly figure seems to be reassured that all is just as it should be.

Just because these paintings have a beginning, this does not mean an end is essential or even preferable. All we can ask is that they 'work'.

Text by Gerry Smith

Extract from 'Brazilian Knots Gallery 32 2003-2006'

Edited by Luis Felipe Fortuna

Published 2006 by the Brazilian Embassy in London


And it all went Brazilian...

Fernando and Humberto Campana and Glauce Cerveira

At this year’s Edinburgh Festival, exclusive furniture retailer, DesignShop UK, is celebrating contemporary Brazilian art and design, and is delighted to showcase a unique collaboration of two of Brazil’s finest artistic exports, designers Humberto and Fernando Campana and artist Glauce Cerveira.

Brazilian-born Glauce Cerveira has added a strident vision to the London art scene. Whether it is in painting, drawing or digital art, she turns concepts into fruition with unprecedented visual constructs.

The new paintings tackle the powerful impact of fashion on our lives; our desperate need to be accepted, wanted and to feel special. In Cerveira’s canvasses, fashion itself is being paraded. Their seductive surfaces act both as a celebration of image making and as a springboard for the questioning of contemporary behaviour.

Glauce plays with notions of identity, ownership and the value of art itself. In her series of drawings entitled Anti-Art Pets, she uses signature as line, objectifying the pet-owner relationship while subverting the act of drawing and seeing. Her digital work continues to question the world of appearances, as in “New Look”, which portrays a nun as a fashion icon. In her latest limited edition prints, entitled “Finger Fairies”, she iconises tiny ordinary objects, like paper clips and safety pins, turning the throwaway into ultimate heroes.

The Campana Brothers have been developing their collection of striking contemporary and sculptural furniture for over twenty years. Together they have created some of the most iconic furniture designs of modern times, such as their aptly named Favela Chair, created from pieces of wood used to construct the typical Brazilian shelters.

Drawing inspiration from Brazilian street life, Fernando and Humberto Campana combine reclaimed objects – such as discarded piping and fabric off-cuts – with contemporary design. Manufactured by Italian furniture company Edra, these exciting designs are exclusive to DesignShop UK in Scotland.

Exhibition Concept Patrick Haddad

The Exhibition includes Ooowh! a collaborative wire sculpture Installation by Glauce Cerveira and Theo Kaccoufa .

Extract from 'And it all went Brazilian...' exhibition Press Release

DesignShop UK, Edinburgh

116-120 Causewayside, Edinburgh, EH9 1PU

Telephone 0131 667 7078



2005, Gallery 32, Brazilian Embassy, London, UK

I want to depict the role of the persona in front of the self and how much of it (the self) survives the compromises we make.

Across the spectrum of these works there is a certainty about bringing the subject directly into the viewer’s space. We have to take part; we are not allowed to keep our distance. How this is achieved involves both the language and the mysteries of how paintings work.

Cerveira delights in playing with this language, whether it is her invasion of all areas of the colour spectrum or her masterful use of glass balls.

This work is full of questions and therefore it is no surprise that an exploration of digital imagery joins her production in a seamless fashion. This creates a fascinating dialogue between the one-off, hand-made and the machine multiple, where she dares one to surpass the other.

Cerveira is interested in what lengths we go to in order to feel wanted, special or to be accepted. The paintings ponder the battle between the persona and the self. In the painting that lends its title to the exhibition, ‘The Things We Do For Love’, a small part of the person is revealed while the focus is kept on what she is wearing. The persona has become more prominent than the self. She turns fashion into subject matter and then uses it as a springboard for questioning contemporary behaviour.

A striving for quality wins out and the Brazilian Embassy is more than pleased to celebrate the work of a home-grown talent.

Extract from 'THE THINGS WE DO FOR LOVE' exhibition Press Release

Solo Show, 2005, Gallery 32, Brazil 0ian Embassy, London, UK


Glauce Cerveira

Essay by Marc Hulson

Glauce Cerveira's paintings are products of the perverse combination of a rigorous and precise representational logic and a wilful refusal to make sense. They evidence a delight in contradiction that makes her images difficult to categorise in terms of stylistic or formal antecedents. One might say that the clarity and precision of form recall certain qualities of Quattrocento painting, or equally that the virtually seamless control of tonal and chromatic modulation brings to mind the unnaturally flawless definition of digitally generated surfaces and volumes. But this is to say nothing of the sheer unprecedented oddness of Cerveira's images - an unfamiliarity that has somehow to do with the proximity of incompatibles but nothing to do with surrealism; that is bound up with spatial impossibility yet unconnected to the elaborately contrived geometrical conundrums of artists like M C Escher. At the same time it would be ingenuous to deny that the spirits of surreality and optical mischief hover around at the peripheries of these painted spaces.

Cerveira's strange visions sometimes suggest the daydreams of a megalomaniac stylist or designer who has been granted the powers and the licence to reinvent and rearrange physical and material reality according to her whims. Her pictures look almost like someone's warped idea of designer heaven - a decidedly post-modern utopia where the dysfunctional elements have disappeared completely and the functional ones have been subtly redesigned according to some perverse and inscrutable logic. Flesh in particular is notably absent from these images - most strikingly in recent works where the occupants of opulent designer dresses have dematerialised to make visible the dazzling patterned backgrounds against which they have been placed.

In Cerveira's painted world the utilitarian becomes exotic, while the opulent or exotic often become treacherously activated. Pattern and decoration play an important role in her work but crucially they never play a servile foil to the figurative elements, they rather co-exist in a relationship of considerable tension. In recent paintings swirling floral and geometric arabesques form the basic visual plane against which the representational motifs are juxtaposed. The patterned areas of the images however have been chromatically enhanced with a layer of minuscule, light-reflecting glass beads so that the 'backgrounds' shimmer with an added intensity which, when the paintings are viewed from certain angles, threatens to eclipse the figurative subject. It is this measured determination to challenge the conventions of looking that holds these paintings precipitously at the edge of optical overkill - their extremity is purposefully controlled.

Although everything in Cerveira's work is consummately painted, an analogous comparison with the digital image is not inappropriate. In particular the objects that appear and reappear in her work radiate with an intense and luminous virtuality. Cerveira often bases one element or another in a painting on a photographic source, but redraws it from a different viewpoint; changes the colour or the orientation of lighting; reinvents the surface. The objects in her images are convincingly solid but they never cast shadows; they look three-dimensional but they occupy spaces where spatial geometry has become meaningless. These images revel in their artificiality.

Marc Hulson

Extract from 'Perfume' Exhibition Catalogue

Glauce Cerveira | Georgie Hopton | Sarah Woodfine

Presented by Danielle Arnaud, Clink Wharf Gallery, London 1999


Perfume Catalogue Introduction

Glauce Cerveira / Georgie Hopton / Sarah Woodfine

The illusionistic representation of three-dimensional form has, by and large, remained a peripheral concern in the contemporary art of the second half of the twentieth century. In spite of the complex and sustained critique to which Greenbergian formalism has been subjected in the wake of post-modernity, its central tenet - concerning the unequivocal assertion of painting's two-dimensionality or flatness - has proved highly resilient. Most notably, the legacy of the formalist critique of illusionism endures in the guise of the critical imperative for irony or self-reflexivity as essential prerequisites for the production of images in general - a mandate with particularly complex repercussions for figurative production in the traditional media. As a tangential result, the sporadic and critically fraught re-emergence of representation and the image in painting over the past two decades has occurred largely via experiments in style, in conscientious pastiche, strategic ineptitude, overt quotation or through the investigation of photography as a mediating locus.

While neither irony nor self-reflexivity are by any means absent from the work in this exhibition, it seems pertinent to observe nevertheless that each of these artists appears to be operating at a certain conscious remove from the dominant historical trends referred to above. A striking characteristic which is common to much of the work in this exhibition is the lucid and precise depiction of form - these paintings and drawings evidence a concentrated engagement with the possibilities of tonal and chromatic modulation as vehicles for the convincing representation of three-dimensional surface and volume.

While many of these images take photographic sources or other found material as their points of departure, the concern is not primarily with the dialectical relationship to technological reproduction that has informed so much recent painting. Cerveira, Hopton and Woodfine seem to be engaged rather in efforts to re-imagine the subjects of their representations, to achieve pictorial and affective autonomy from the source media they draw upon.

Glauce Cerveira, Georgie Hopton and Sarah Woodfine all claim a kind of strategic unpremeditation in their choices of source material:- the initial criteria may be simple curiosity, fascination with or attraction to a particular form or quality, sensual or associative pleasure, personal sentiment or something altogether more incidental. It may also be said that the manipulations of realist technique to which they subject their source images are both painstaking and charged with the pleasure of erotic control. In Woodfine's meticulous, minutely delineated pencil drawings, the subject and its outline become the vehicle for imaginary, subliminal transformations which emerge millimetre by millimetre as the details of form and surface are mapped out; Cerveira's paintings are complex and visually arresting pictorial constructs in which an obsessive engagement with form and pattern is pursued to a point of extremity, elements layered and juxtaposed in configurations which are perceptually perverse; in her current work Hopton translates the tactile manipulation of figurative sculpture into the tonal modulation of representational painting, using the medium as a means to focus and make present the images of sculptures to which she feels a kind of empathic identification.

There is something both disarming and unsettling in all of this work and, notwithstanding the emphatic sophistication of its execution, it is tempting to identify links by ascribing common qualities which might be thought of in a sense as 'childlike':-a sense of wonder, for example, or sheer pleasure-driven curiosity at the permutations and possibilities of visual language; a simple desire to depict subjects and things one likes; or an overt and unapologetic pursuit of the imaginary or fantastic.

But one should be careful in interpreting terms like 'childlike' and 'wonder' - careful in particular not to over invest them with notions of naivety or innocence. A child's wonder may be conditional upon a kind of innocence - but an innocence of what? Innocence is a purely conditional and relative concept, and we often mistakenly obscure the idea of innocence with idealistic notions of benign intent. Yet a child's wonder is driven by a voracious and insatiable curiosity, a ruthless and monomaniacal urge to sensorily investigate or possess anything and everything that arouses that curiosity.

Perhaps curiosity is the key term here - one senses in this work a certain intensity and exclusivity of focus, the kind of attention that drives one to make a choice in spite of, and even because of, the absurdity of doing so. In the expert and elaborate representational games they enact with the objects of their attention, these artists also lay claim to the perverse and profound pleasures of play to be experienced in the practice of image-making.

Marc Hulson

Extract from 'Perfume' Exhibition Catalogue

Glauce Cerveira | Georgie Hopton | Sarah Woodfine

Presented by Danielle Arnaud, Clink Wharf Gallery, London 1999