Jose narciso's work in a styled room
Artist

Jose narciso

His work maps the emotional space where nature and technology collide.

1 Works
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Works by Jose narciso

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Dance — framed, leaning against the wall

Dance

Jose narciso

£28.99

About Jose

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José Narciso is a Brazilian visual artist whose work draws deeply from his family’s creative heritage and childhood memories of the rainforest. His practice explores the delicate balance between memory and identity, often using vibrant pigmentation to navigate the tension between organic life and artificial systems. Since his debut solo exhibition, Narciso, in Brasília, he has expanded his reach into digital art and internet-inspired aesthetics. His recent projects, including The Garden Between Days, utilize recurring floral motifs as psychological extensions to map emotional states at the intersection of nature and technology.

Visual voice

Narciso’s aesthetic is defined by distorted forms and a high-energy palette that bridges traditional symbolism with digital culture. He frequently employs floral imagery to represent internal landscapes, blending natural textures with the sharp edges of the internet age.
Brazilian SymbolismDigital CultureFloral MotifsVibrant PigmentationOrganic SystemsInternet Aesthetics

Good to Know

What influences Jose Narciso's color palette?

His use of vibrant pigmentation is influenced by his childhood memories of the Brazilian rainforest and his family’s artistic heritage.

How does the artist incorporate technology into his work?

Narciso integrates digital culture and internet-inspired aesthetics into traditional painting to explore the tension between organic and artificial systems.

What do the flowers in his paintings represent?

In projects like The Garden Between Days, floral motifs serve as psychological extensions representing specific emotional states.

Where has Jose Narciso exhibited his work?

He held his first solo exhibition, Narciso, at Galeria Savta in Brasília in 2021 and has since expanded into digital art and NFT platforms.

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