Carlos Zilio began his career in the mid-1960s, when Brazil was undergoing the trauma of dictatorship. His production has always addressed the political dimension of art through a powerful critical reading of reality; throughout his career, his works have continued to reflect a fragmented world, pitiless and constantly in conflict.
Zilio’s recent exhibition brought together paintings using the motif of the Tamandua, a genus of anteater, and objects reflecting on the theme of the artist’s atelier. The tamandua is not a new image in his work. It emerged following the death of his father in 1985,