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Brazilian artist Rafael Silveira’s paintings were recently shown in Popsicledelic Trip, a solo exhibition at KP Projects Gallery in Los Angeles. The works combine surreal imagery with popsicle-like formats, extending Silveira’s interest in “visual synonymies”—unexpected correspondences between images and objects.
Brazilian artist Rafael Silveira recently presented paintings in Popsicledelic Trip, a solo exhibition at KP Projects Gallery in Los Angeles, bringing together surreal figures, natural forms and popsicle imagery. The works develop Silveira’s idea of “visual synonymies”: unexpected formal connections between things that might otherwise seem unrelated.
In the paintings, faces can be altered by flowers, landforms or animals, while human figures and objects appear in improbable combinations. A man with a tree for a head and ice cream cones set against a starry sky are among the kinds of juxtapositions described in the report. Rather than treating the images as isolated jokes or fantasies, Silveira frames them as instances of different things existing together.
Several vertical works use ornate, hand-carved wooden frames whose outlines resemble popsicles. Figures hold oversized frozen treats in compositions that recall religious art of the Renaissance. The report lists works including 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 appeared alongside a show by Silveira’s wife, artist Flávia Itiberê. Other pictured works 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. The report identifies their dates, media and dimensions, but does not provide exhibition dates or a full checklist.
How Popsicles Echo Sacred Forms
The paintings’ central device connects popular, temporary objects with the visual language of religious painting. Silveira points to the tavola centinata, a panel shape with a squared base and rounded top, found in Gothic and early Renaissance works. Its outline also resembles that of a conventional popsicle, giving the artist a formal link between two subjects that carry very different associations.
That pairing gives the exhibition’s surreal combinations a stated idea beyond visual surprise: familiar shapes can prompt different meanings, and apparently distant parts of the world may be seen in relation to one another. The work asks viewers to notice those correspondences without presenting them as literal equivalences. The connection is a way of looking, not a claim that a frozen treat and a religious image have the same cultural or spiritual significance.
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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 unexpectedly recognizes itself in another. The report says this has been a longstanding interest for the artist, whose paintings replace facial features with elements such as flora, fauna and landscape.
In this exhibition, the popsicle motif brings that method into the structure as well as the subject of the paintings. The comparison rests partly on the shape of the frame and partly on the contrast between an enduring art-historical format and something sweet that melts. The gallery presentation placed Silveira’s show alongside Itiberê’s, though the available report gives no further details about her exhibition.
““Formal correspondences between seemingly unrelated things, moments in which one image unexpectedly recognizes itself in another.””
— Rafael Silveira, describing “visual synonymies”
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Exhibition Dates and Availability
The report says Popsicledelic Trip was recently included at KP Projects, but does not give the opening or closing dates, visitor information, sales details or whether the exhibition is still on view. It also does not establish whether the listed works remain available to see or acquire. The images and descriptions support reporting on the works’ subjects, materials and dimensions; they do not provide independent evidence for broader claims about how audiences have responded.
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Further Work From the Artist
The source report directs readers to Silveira’s Instagram account to see more of his work. It does not announce another exhibition or give a future event schedule. Any additional show dates, gallery details or plans for the works would need confirmation from the artist or KP Projects.
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Key Questions
Where were the paintings shown?
They were recently included in Popsicledelic Trip, a solo exhibition by Rafael Silveira at KP Projects Gallery in Los Angeles. The report does not provide the exhibition dates.
What does Silveira mean by “visual synonymies”?
Silveira uses the phrase for formal correspondences between seemingly unrelated things—when one image unexpectedly recalls or connects with another.
Why do some frames resemble popsicles?
The works use vertical outlines similar to popsicles. Silveira connects that shape to the tavola centinata, a rounded-top format found in Gothic and early Renaissance painting.
Which works are identified in the report?
The report names works including Exit, The Epiphany, My God Is the Sun and Multiverse Is My Backyard. It also gives dates, materials and dimensions for several paintings.
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