In the interview published by TIME OUT Dubai under the title “Brazil’s Lost Children”, artist Antonio Veronese reflects on the emotional, ethical and humanitarian foundations of his work, presented in Dubai during the exhibition Art With No Boundaries.
Central Themes of the Interview
1. Motivations behind painting faces
Veronese explained that, for him, it is not just about painting faces, but about capturing human feelings — love, fear, hope, frustration, hunger, loneliness — which are visible in the eyes of those portrayed. He describes this ability to “express deep emotions” as something similar to the power of music.
2. Emotional “intensity” in his works
His paintings often have a unique intensity. For him, this is connected to the power of art to “probe” the geography of feelings and act as a mirror of the human experience.
3. Decision about whom to portray
Veronese stated that he does not consciously choose whom to paint — rather, it is the painting itself that “decides” what will be done. He compares his process to the musical improvisation of a “jazz section,” in which the artist is free to follow his instincts.
4. Impact of his experience with incarcerated youth
He spoke about the time he spent teaching art to incarcerated youth in Rio de Janeiro and how this experience deeply influenced the aesthetics of the faces he paints. Veronese also mentioned his exhibitions at the National Museum of Fine Arts in Rio, in which he proposed a reflection on indifference toward the murder of 600 minors over the years in the city of Rio de Janeiro alone. In the exhibition 600 Boys, Veronese created a symbolic portrait for each of the 600 minors murdered that year, seeking to give a face to each lost life.
5. Art as denunciation and consolation
Veronese stated that his work not only denounces violence against children, but violence in general — between humans, and between humans and nature. For him, even in the most difficult moments, art is a form of consolation, like “a beam of light that brings some hope.”
6. The transcendence of art
He firmly believes that art can transcend cultural and social boundaries, touching people regardless of their background. This belief also influenced his decision to show his work in Dubai.
7. Future plans (at the time)
At the end of the interview, Veronese mentioned plans for new exhibitions in Brazil and Paris, as well as the possibility of returning to Dubai for future exhibitions.
Resumo da Entrevista de Antonio Veronese à Time Out Dubai
Contexto da matéria:
A entrevista foi feita durante a participação de Antonio Veronese na exposição Art With No Boundaries em Dubai, na qual ele apresentou uma série de trabalhos centrados em retratos de crianças marginalizadas no Brasil.
🎨 Temas Centrais da Entrevista
1. Motivações por trás das pinturas de rostos
Veronese explicou que, para ele, não se trata apenas de pintar rostos, mas sim de capturar sentimentos humanos — amor, medo, esperança, frustração, fome, solidão — que são visíveis nos olhos dos retratados. Ele descreve essa capacidade de “expressar emoções profundas” como algo semelhante à força da música.
2. A “intensidade” emocional nas obras
Suas pinturas frequentemente têm uma intensidade única! Para ele, isso está ligado ao poder da arte de "vasculhar" a geografia dos sentimentos e agir como um espelho da experiência humana.
3. Decisão sobre quem retratar
Veronese afirmou que ele não escolhe conscientemente quem pintar — afinal, é a própria pintura que “decide” o que será feito. Ele compara seu processo com a improvisação musical de uma "jazz-section" em que o artista é livre para seguir seus instintos.
4. Impacto de sua experiência com jovens presos
Ele falou do tempo que passou ensinando arte para jovens presos no Rio de Janeiro, e como isso influenciou profundamente a estética dos rostos que pinta. Veronese mencionou ainda das suas exposições no Museu Nacional de Belas Artes no Rio, nas quais propôs uma reflexão sobre a indiferença diante do assassinato de 600 menores por anos, somente na cidade do Rio de Janeiro. Na mostra 600 Meninos, Veronese criou um retrato simbólico para cada um dos 600 menores assassinados naquele ano, buscando dar um rosto para cada vida perdida.
5. A arte como denúncia e consolo
Veronese afirmou que seu trabalho não apenas denuncia a violência contra crianças, mas a violência em geral — entre humanos, e entre humanos e a natureza. Para ele, até nos momentos mais difíceis, a arte é uma forma de consolo, como “um facho de luz que traz alguma esperança”.
6. Transcendência da arte
Ele acredita firmemente que a arte pode transcender fronteiras culturais e sociais, tocando as pessoas independentemente de sua origem. Esta crença também influenciou sua decisão de mostrar seu trabalho em Dubai.
7. Planos futuros (na época)
No encerramento da entrevista, Veronese mencionou planos de novas exposições no Brasil e em Paris, além da possibilidade de retornar a Dubai em futuras mostras.
Brazil’s lost children #antonioveronese #dubai #timeoutdubai
Peter Feelyhttps://www.timeoutdubai.com/culture/art/48981-brazils-lost-children
Antonio Veronese talks about his hard-hitting show featuring portraits of Brazil’s lost children.
In a new show at Art & Couture (Dubai), Brazilian artist Antonio Veronese, who lives in Paris, was initially inspired by the 16 years he spent teaching impoverished young child prisoners art in the city.
This exhibition entitled ‘Art With no Boundaries’ features pictures of children in Rio that he painted from his imagination. The show aims to demonstrate his art’s ability to cross social boundaries and have a relevance to everyone, regardless of their race, religion and gender. These children had been targeted by notorious Rio death squads – off-duty police officers who roamed the favelas, illegally murdering street kids. The youngsters were traumatised, victimised and persecuted and their plight deeply affected the artist. This sense of suffering and pain can be felt through each of his pieces. Here, he reveals more about the exhibition and the universal emotions that inspire his creations.
You seem fascinated with drawing people’s faces. Can you explain why you find this subject matter so interesting?
If you look closely, I am not exactly painting human faces but actually feelings. Everything can be captured from a pair of eyes. This magical and complex universe of human feelings: love, fear, hope, frustration, hunger, anger, solitude – everything is imprinted in just a pair of eyes. Could I have a better subject? ("Veronese does not paint faces, but feelings"- The NY Times)
There’s often a haunting intensity to your paintings – is that something you recognise?
It is similar to music, Gustav Mahler’s music [Austrian classical composer] makes some cry and others dance and I believe art is the same. We each have our own feelings and art helps these feelings to breathe.
How do you decide who to paint?
I do not decide; it’s always the painting itself that decides. In classical painting the artist has a project that he tries to accomplish. Modern art allows the painter to experiment. I call it ‘jazzing’, in the sense of jazz music. We are totally free and we can improvise – like a jam session. I would say if classical painting is like Mozart, then modern painting is [jazz legend] Charlie Parker.
How did your work teaching young prisoners in Rio de Janeiro affect how you saw people’s faces?
It deeply touched me; for many years I’ve painted in reaction to the experience. In 1999, before the government of President Lula, we had about 600 minors assassinated every year in Rio. Boys belonging to the same social class as those I was working with inside prisons. Suddenly, I was invited to do an exhibition at the Brazilian National Museum of Fine Arts. So I decided to draw one single face representing each one of those boys who had been killed that year, in order to give every dead boy the right to a virtual image of his face. That happened 14 years ago now, but I keep trying. Modesto Lanzone from the San Francisco Modern Art Museum told me that my paintings are a portrait of the complexity of today’s world. Maybe he is right.
You are known for highlighting violence against children. Is this something you would like people to think about when they see your paintings?
My work is a form of denunciation, not only of violence against children, but also of violence itself, of humans against nature and animals. Each one of us is a delicate organism, sophisticated and unique. Maybe painting is an unconscious form I’ve found to protest against the deep and ancient violence of men.
You believe that art can be used to help rehabilitate people. Is there a point where people suffer too much to be rehabilitated in your opinion?
Even when someone is about to die of thirst, a single drop of water can contribute some comfort, some relief. Art only consoles.
Do you experiment with different painting styles?
Every day I try different techniques or processes, different resources, and try to take some risks – I often go through a lot of canvas. But when I escape the traps of conventionality and accomplish something I feel at peace.
Do you believe that art can transcend boundaries – as with the name of the exhibition?
Of course, because art touches us as humans, no matter what country, race or religion and that’s the reason I proudly decided to visit Dubai.
What other projects – artistic or not – do you have in the pipeline during 2014?
I have an exhibition planned at Bahia in Brazil and one in Paris. Also I may perhaps even return to Dubai. The UAE is a country that certainly makes my imagination fly.
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