Joao Evangelista Souza

In the 1980s, he moves to New York, frequenting its main museums and galleries. This work of discoveries and refinement also extends to some European centers like London, Vienna, Barcelona, and Lisbon.

He routinely travels throughout Brazil, visiting isolated regions such as the Vale do Jequitinhonha, the Pampas of Rio Grande do Sul, and Western Amazônia. He incorporates a rich and singular dialogism into his work, the product of multiple views that interpose themselves onto all the regions of the country that he visits.

First Lines

In February 1997, EVANGELISTA visits João Cândido Portinari, son of the painter Cândido Portinari, along with his friends Carlos Bracher, Décio Bracher, Inimá de Paula, Carlos Scliar, Amilcar de Castro, Siron Franco, Enrico Bianco, and the art Collector and Curator Gilberto Chateaubriand.

Reflection on the divine, the meaning of life, and the baroque invariably marks all of my work, as well as the incessant search for new language, materials, and forms of expression. Researching and trying to create a line of artistic and human convergence is the great challenge.

Graduated in Publicity and Advertising.
He is also a documentarist, with several productions done in the area of art and in the area of commercial and military aviation.

Individual Shows

In November 2003 the official opening of EVANGELISTA’s first individual show takes place. The location chosen for this event was the garage of the Hotel Maravilhoso, a historical building located in the old section of Belo Horizonte.

November 2004 – IMPLOSIONS After its opening, the show moves to the Belo Horizonte Culture Center, where it stays for 30 days. Upon the request of the City of Belo Horizonte, some canvases were shown afterwards in the city’s Secretary of Culture, in the Center-South region.

This show had great repercussions in the local media and was very well-received by the public, as well as by the hard-hitting critic Morgan da Motta, a member of the ABCA (Brazilian Association of Art Critics) and the AICA (International Association of Art Critics: “JOÃO EVANGELISTA, documentarist and plastic artist, began his career under the most significant eyes in art: Carlos Bracher, Scliar, Inimá de Paula, Siron Franco, and the collector Gilberto Chateaubriand. The artist always prefers the underground, the excluded, in galleries where the afflicted people seek the remnants of life. Among so many proposals, Evangelista hovers above the limits of the figurative, in the line of his pencil, in the sam...