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sofiasilva.s
Sofia Silva
🗝️ Padova, Italy
I was grateful to read Yinka Elujoba’s words on my exhibition Spoiled by Freud in The New York Times today. I couldn’t have wished for more beautiful words.
@andrewkrepsgallery 55 Walker Street NYC
@nytimes
I was grateful to read Yinka Elujoba’s words on my exhibition Spoiled by Freud in The New York Times today. I couldn’t have wished for more beautiful words.
@andrewkrepsgallery 55 Walker Street NYC
@nytimes
I was grateful to read Yinka Elujoba’s words on my exhibition Spoiled by Freud in The New York Times today. I couldn’t have wished for more beautiful words.
@andrewkrepsgallery 55 Walker Street NYC
@nytimes
I was grateful to read Yinka Elujoba’s words on my exhibition Spoiled by Freud in The New York Times today. I couldn’t have wished for more beautiful words.
@andrewkrepsgallery 55 Walker Street NYC
@nytimes
I was grateful to read Yinka Elujoba’s words on my exhibition Spoiled by Freud in The New York Times today. I couldn’t have wished for more beautiful words.
@andrewkrepsgallery 55 Walker Street NYC
@nytimes
Il pomodoro di De Pisis [De Pisis’ Tomato], 2026
11 3/4 x 16 7/8 inches (30 x 43 cm)
@andrewkrepsgallery @miartmilano
Il pomodoro di De Pisis [De Pisis’ Tomato], 2026
11 3/4 x 16 7/8 inches (30 x 43 cm)
@andrewkrepsgallery @miartmilano
Il pomodoro di De Pisis [De Pisis’ Tomato], 2026
11 3/4 x 16 7/8 inches (30 x 43 cm)
@andrewkrepsgallery @miartmilano
Ragazza con zampa di canarino [Girl with Canary’s Foot], 2026
Oil, acrylic, pH-neutral vinyl glue, miniature, chalk on canvas
19 3/4 x 23 5/8 inches (50 x 60 cm.)
@miartmilano @andrewkrepsgallery 🐤
Ragazza con zampa di canarino [Girl with Canary’s Foot], 2026
Oil, acrylic, pH-neutral vinyl glue, miniature, chalk on canvas
19 3/4 x 23 5/8 inches (50 x 60 cm.)
@miartmilano @andrewkrepsgallery 🐤
Tavolino vanità (Vanity Table), 2026, 45 × 35 cm
Andrew Kreps Gallery, miart 2026, booth E08
Looking forward to seeing you in Milan
Tavolino vanità (Vanity Table), 2026, 45 × 35 cm
Andrew Kreps Gallery, miart 2026, booth E08
Looking forward to seeing you in Milan
Tavolino vanità (Vanity Table), 2026, 45 × 35 cm
Andrew Kreps Gallery, miart 2026, booth E08
Looking forward to seeing you in Milan
Branzino Triste, 2026.
In the second photo, with Medardo Rosso and Arturo Martini at @galleriagomiero 's booth at @artefiera_bologna , in the section curated by @_albertosalvadorii
Oil, acrylic, pH-neutral PVA adhesive, gesso, cotton threads, dye on canvas, 60 × 50 cm.
«A sea bass lies on a bed of sterling-silver roses. Its belly has been slit open for the removal of the viscera.
“Branzino Triste” belongs to the body of work in which the artist engages with the beach and tourist culture of the Adriatic Riviera, approached as a symbolic and social construct. These works are rooted in private memory — the 1990s and early 2000s — refracted through a lens that is at once affectionate and disenchanted.
It is the world of middle-bourgeois tourism on the Venetian beaches, of free time now already past, transmuted into freed time: a universe in which the sea becomes a decorative surface, a soothing backdrop for codified rituals, eventually making its way onto the table in the form of food made precious, ornamental».
Branzino Triste, 2026.
In the second photo, with Medardo Rosso and Arturo Martini at @galleriagomiero 's booth at @artefiera_bologna , in the section curated by @_albertosalvadorii
Oil, acrylic, pH-neutral PVA adhesive, gesso, cotton threads, dye on canvas, 60 × 50 cm.
«A sea bass lies on a bed of sterling-silver roses. Its belly has been slit open for the removal of the viscera.
“Branzino Triste” belongs to the body of work in which the artist engages with the beach and tourist culture of the Adriatic Riviera, approached as a symbolic and social construct. These works are rooted in private memory — the 1990s and early 2000s — refracted through a lens that is at once affectionate and disenchanted.
It is the world of middle-bourgeois tourism on the Venetian beaches, of free time now already past, transmuted into freed time: a universe in which the sea becomes a decorative surface, a soothing backdrop for codified rituals, eventually making its way onto the table in the form of food made precious, ornamental».
Branzino Triste, 2026.
In the second photo, with Medardo Rosso and Arturo Martini at @galleriagomiero 's booth at @artefiera_bologna , in the section curated by @_albertosalvadorii
Oil, acrylic, pH-neutral PVA adhesive, gesso, cotton threads, dye on canvas, 60 × 50 cm.
«A sea bass lies on a bed of sterling-silver roses. Its belly has been slit open for the removal of the viscera.
“Branzino Triste” belongs to the body of work in which the artist engages with the beach and tourist culture of the Adriatic Riviera, approached as a symbolic and social construct. These works are rooted in private memory — the 1990s and early 2000s — refracted through a lens that is at once affectionate and disenchanted.
It is the world of middle-bourgeois tourism on the Venetian beaches, of free time now already past, transmuted into freed time: a universe in which the sea becomes a decorative surface, a soothing backdrop for codified rituals, eventually making its way onto the table in the form of food made precious, ornamental».
Felice Tosalli, Giacomo Manzú, Willy Johansson, Sofia e fiore di allium a casa di Giulia e Marzio
From the series church, home, and convent fantasies: Sofi 2000, on the day of her First Communion — freshly resurrected yesterday from an old VHS tape.
Non lo sguardo piú sveglio del sacramento ma sicuramente il piú strano 👒
(Notare il side eye terrorizzato alla parola "condivisione") 😂
From the series church, home, and convent fantasies: Sofi 2000, on the day of her First Communion — freshly resurrected yesterday from an old VHS tape.
Non lo sguardo piú sveglio del sacramento ma sicuramente il piú strano 👒
(Notare il side eye terrorizzato alla parola "condivisione") 😂
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