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Brazilian artist Rafael Silveira’s paintings in the solo exhibition “Popsicledelic Trip” at KP Projects Gallery in Los Angeles combine surreal imagery with popsicle-shaped compositions and frames. Silveira describes the works’ visual links between unrelated subjects as “visual synonymies”; the source does not give exhibition dates or visitor figures.
Brazilian artist Rafael Silveira recently presented paintings in his solo exhibition “Popsicledelic Trip” at KP Projects Gallery in Los Angeles, combining surreal figures and objects with compositions shaped like popsicles. The works connect everyday imagery to the forms of historic devotional painting, part of what Silveira calls “visual synonymies”: unexpected correspondences between images that appear unrelated.
In the paintings described by Colossal, faces and bodies merge with landforms, flowers and animals. One image replaces eyes with flowers; others place a tree where a head would be or show ice cream cones floating like planets. The report describes these juxtapositions as a way to unsettle familiar associations between shapes and objects, rather than as literal scenes.
Several vertical works have ornate, hand-carved wooden frames whose rounded tops and squared bases recall popsicle silhouettes. In some compositions, figures hold oversized frozen treats in arrangements that reference Renaissance religious art. The works include “Exit” (2026), an oil painting on canvas measuring 150 by 100 centimeters, and “The Epiphany” (2026), an oil painting on hand-carved wood panel measuring 50 by 105 centimeters.
The exhibition also included work by Flávia Itiberê, Silveira’s wife, according to Colossal. The source identifies her as an artist but does not provide details about the works she showed. Other Silveira pieces named in the report include “We Are On the Same Page,” “Wonders of Human Nature,” “My God Is the Sun,” “Early Bird,” “Cosmic Bioma” and “Multiverse Is My Backyard.”
Popsicles Meet Devotional Forms
The show’s central visual pairing gives a familiar frozen treat a role usually associated with sacred imagery. Silveira draws on the tavola centinata, a canvas or relief format with a squared base and rounded top that appears in Gothic and early Renaissance painting. That outline also resembles a classic popsicle, letting the shape carry two different cultural associations at once.
The contrast matters to how the paintings work: devotional art suggests permanence and spiritual importance, while a melting treat is temporary and commonplace. Silveira’s approach asks viewers to notice how a shared form can connect those categories without making them identical. The report presents this as the artist’s stated framework, not as a claim that the paintings have one fixed interpretation.
surrealist oil paintings on canvas
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Silveira’s Idea of Visual Synonymies
Silveira describes “visual synonymies” as formal correspondences between seemingly unrelated things—moments when one image seems to recognize itself in another. His paintings use that idea through combinations of human figures, animals, plants, landscapes and everyday objects, placing them together in scenes that can initially appear absurd.
In his statement about the popsicle-shaped works, Silveira says the connection between the historic panel form and the frozen treat is both surprising and inevitable. He frames the pairing as a bridge between devotional form and ephemeral matter. Colossal reports that the paintings were included in the Los Angeles exhibition, but does not provide its opening or closing dates.
““formal correspondences between seemingly unrelated things, moments in which one image unexpectedly recognizes itself in another.””
— Rafael Silveira, describing his approach in the Colossal report
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Exhibition Dates and Details
The source calls the exhibition recent but does not state when it opened or closed, how many works were shown, or how many visitors attended. It also gives limited information about Itiberê’s contribution to the exhibition. Claims about the artist’s intentions in this report are attributed to Silveira; the material does not include independent critical responses or audience reactions.
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Further Work and Gallery Information
Colossal directs readers to Silveira’s Instagram account to see more of his work. The source does not announce a further exhibition, publication or other upcoming milestone, so no next event is confirmed. Additional gallery information or a fuller exhibition record could clarify the show’s dates and the range of work presented.
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Key Questions
Where was “Popsicledelic Trip” shown?
The solo exhibition was recently presented at KP Projects Gallery in Los Angeles, according to the Colossal report.
What does Silveira mean by “visual synonymies”?
Silveira uses the term for formal connections between seemingly unrelated images, where one image unexpectedly recalls another.
Why do some works resemble popsicles?
Some paintings use rounded-top formats and frames that recall popsicles. Silveira links that silhouette to the tavola centinata, a form associated with Gothic and early Renaissance paintings.
Did the exhibition include another artist?
Yes. The report says it was shown alongside work by Flávia Itiberê, Silveira’s wife and an artist, but it does not describe her work in detail.
When did the exhibition take place?
The report describes it as recent and identifies the paintings as works from 2026, but it does not give the exhibition’s opening or closing dates.
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