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Brazilian artist Rafael Silveira’s paintings were recently shown in his solo exhibition “Popsicledelic Trip” at KP Projects Gallery in Los Angeles. The works combine surreal imagery with popsicle-shaped formats, linking popular frozen treats to the forms and symbolism of religious painting. The source report does not provide exhibition dates or say whether the show remains open.
Brazilian artist Rafael Silveira recently presented surreal paintings in “Popsicledelic Trip,” a solo exhibition at KP Projects Gallery in Los Angeles. The works bring together altered faces, natural forms and frozen treats, using visual resemblances to connect seemingly unrelated subjects and to draw a formal link between popsicles and religious painting.
The paintings replace or transform familiar features: flowers can become eyes, a horizon can stand in for a mouth, and figures may appear with landforms or other forms where a face would ordinarily be. The source report describes Silveira’s approach as an exploration of “visual synonymies”—unexpected correspondences between images that otherwise seem unrelated. The pairings are surreal, but the artist’s stated idea is that the things depicted coexist in the same world.
Several vertical works have ornate, hand-carved frames and a rounded top over a squared base, giving them the outline of a popsicle. Other images show figures holding oversized frozen treats in compositions that recall religious art of the Renaissance. The exhibition included works made in oil on canvas and on handcrafted or hand-carved wood panels. The report identifies works including Exit (2026), We Are On the Same Page (2026), and My God Is the Sun (2026).
The exhibition was presented alongside a show by Silveira’s wife, artist Flávia Itiberê. The supplied report names the gallery and exhibition but gives no opening or closing dates, visitor figures, or details about sales. It also does not establish whether the paintings remain on view.
Popsicle Shapes Meet Sacred Forms
The exhibition’s central visual comparison is between the familiar outline of a frozen treat and a form associated with older religious painting. Silveira connects the popsicle silhouette to the tavola centinata, a panel shape with a squared base and rounded top, commonly found in Gothic and early Renaissance works. Reusing that shape gives the popsicle a place within a composition associated with devotional art, without making the two objects identical in meaning.
That formal connection helps explain why the treats appear throughout the show rather than as decoration alone. Silveira’s stated premise is that shapes and objects can carry different associations while still sharing a visual resemblance. By placing the ephemeral popsicle beside the durable form of a painted panel, the works invite viewers to notice how context changes what an image suggests. This is an account of the artist’s intent, not evidence that every viewer will interpret the pairings in the same way.
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The Artist’s Visual Correspondences
Silveira describes his interest as finding moments when one image seems to recognize itself in another. In the source report, Colossal characterizes his paintings as surreal compositions that mix figures, animals, plants and objects. The approach relies on substitution and juxtaposition: a familiar feature is replaced by something unexpected, or two unlike things share a shape or position.
The exhibition’s title, “Popsicledelic Trip,” foregrounds the frozen treat that recurs in its imagery. The report notes that the works include ice cream cones floating like planets in a starry sky and figures holding enlarged popsicles. Those descriptions, along with the named paintings and their materials, are the factual details available about the show; the source does not provide a complete checklist or a gallery statement about the exhibition’s broader reception.
““formal correspondences between seemingly unrelated things, moments in which one image unexpectedly recognizes itself in another.””
— Rafael Silveira, as quoted in the Colossal report
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Exhibition Dates Remain Unreported
The source report says the works were recently included in the Los Angeles exhibition but does not state when it opened or closed. It is not clear whether “Popsicledelic Trip” is still on view, whether the gallery plans another presentation, or whether the paintings are available to see elsewhere. The report also offers no attendance, sales, or critical-response figures, so the exhibition’s public or commercial reception cannot be assessed from the available information.
Descriptions of the artist’s intentions come from Silveira’s own remarks and the report’s account of the images. They explain how he approaches the work, but they do not establish a single required interpretation for viewers.
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Check the Gallery for Viewing Details
Readers seeking current access to the paintings will need to check KP Projects Gallery for exhibition status, viewing arrangements or later presentations. The source report does not announce a future exhibition or provide dates for one. Colossal points readers to Silveira’s Instagram for more of his work, but it does not identify a specific upcoming release or event.
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Key Questions
Where was “Popsicledelic Trip” shown?
The exhibition was held at KP Projects Gallery in Los Angeles, according to the source report. It was presented alongside a show by artist Flávia Itiberê.
What does Silveira mean by “visual synonymies”?
Silveira uses the phrase for formal correspondences between seemingly unrelated images—moments when one image appears to echo or recognize another. The phrase is his description of an artistic interest, not a formal classification of the works.
Why do popsicles appear in paintings that reference religious art?
Silveira links the rounded-top shape of a popsicle to the tavola centinata, a panel form used in Gothic and early Renaissance painting. He says bringing the forms together connects devotional imagery with something popular, temporary and prone to melting.
Are the paintings still on display?
The source says the works were recently included in the exhibition but gives no dates or current status. Check with KP Projects Gallery for the latest viewing information.
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