Featured Work Filipe Rocha da Silva
  • 00.1
    Filipe Rocha da Silva, Fertility Landscape, 2015, wool on textile, 59.1 x 76 inches (150 x 193 cm)
  • 00.6
    Filipe Rocha da Silva, Leaves, 1987, oil on canvas, 33 x 21 inches (83.8 x 53.3 cm)
  • 00.7
    Filipe Rocha da Silva, Leaves (detail), 1987, oil on canvas, 33 x 21 inches (83.8 x 53.3 cm)
  • 00.9
    Filipe Rocha da Silva, Mould, 2012, collage and mixed media on paper, 29 1/2 x 47 1/4 inches (75 x 120 cm)
  • 01
    Filipe Rocha da Silva, Forms and Shapes, 2008, pencil and color pencil on paper, 19.5 x 73 inches (49.5 x 185.4 cm)
  • 022
    Filipe Rocha da Silva, Mountain Slope (detail), 2008, pencil and colored pencil on paper, 25 x 50 inches (63.5 x 127 cm)
  • 03
    Filipe Rocha da Silva, Number One, 2008, pencil and colored pencil on paper, 25 x 50 inches (127 x 66 cm)
  • 031
    Filipe Rocha da Silva, Number One (detail), 2008, pencil and colored pencil on paper, 25 x 50 inches (121.9 x 121.9 cm)

Filipe Rocha da Silva is a Portuguese painter who shows his work internationally. In his multilayered paintings, built up with a plurality of materials, there is a strong Asian influence ascribed to Chinese painting. We can also find traces of Western medieval painting, pointillism and 20th century art. He sometimes consciously quotes from art history, reinterpreting mannerism and the Renaissance, by overlapping his characteristic calligraphy composed of a multitude of small human beings. In his painting Rocha da Silva tries to reconcile tradition with technological research and explore the role of the individual in society.

"Filipe Rocha da Silva creates very large paintings depicting extremely small, almost invisible figures. In 'Nanoscale and Painting' he tries to explain why he does so and considers the possible relationship of these works to nanoscale phenomena and technology, which have been so influential in the 21st century." –Leonardo, MIT Press, 2008

"The Portuguese painter Filipe Rocha da Silva later developed a series of visual formats that referred analogically to the essential process of the Portuguese revolution of 1974 – its democratic impulse – by invoking the collective power and purpose of the human mass as a patterned synchronization of its many-millioned parts... The nanoscale humans that populate da Silva's works can be looked on as resembling both brain cells and individual neurons, according to the artist, or the complex patterns of pandemic diseases and computer viruses..." –Brandon Taylor, After Constructivism, 2014

Filipe Rocha da Silva lives and works in Portugal.

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