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Read product information for the    `Country House` (1998)
`Country House` (1998)
$6,117.95

Temporary unavailable
Popularity: Not Rated
49.2 " W x 37.4 " H Weight: 1.50 kg -Oil on canvas -Arrives unframed -Stretched Ships from NOVICA Office in Brazil NOVICA, in association with National Geographic, searches the world to work directly with the finest artisan designers. At once bashful and Dionysian, the atmosphere of this composition flourishes with colorful sensuality. Kaiuca employs rounded contours to instill his figures with an exaggerated sense of femininity, their nude forms executed in deep shadows and solid colors. Titled "Casa de campo" in Portuguese. Handmade by Kaiuca "The world is a paradise created by God, transformed into hell through the hand of man," observes Kaiuca as he tries to explain his art. His paintings explode with unique eroticism; they focus on the bizarre and the animalistic aspects of humans. "I equate man with nature," explains the artist as he highlights the importance of sexuality in the understanding of the fantastic contradiction of existence. Kaiuca depicts an eroticism that has nothing to do with Carnival a connection that is readily applied to other Brazilian artists. Kaiuca is an observer; he is like a divine eye, always vigilant and at times punitive. He is like a superego that carries with him the guilt of human will. "Every action is essentially irrational. The human mind is at once beautiful and tragic," says Kaiuca as he sheds a light on how far he wishes his art to be provocative. Kaiuca paints life as he sees it; without good or evil. He paints about life and its entire complexities. "My work is also based in the spiritual aspects of the human being - the aspects of good and evil. The feelings that fulfill our existence have their positive and negative polarities. Fantastic beings have inhabited my imagination since childhood and I think they comprise the mental force of man. "I began with the classical genre; since the age of eight I`ve painted with oils. But it was at the beginning of the 60s that I began to expose these bizarre b
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