Artist, painter, exceptionally intelligent, Pio Roda, with strong sensibility, shows in his works of art the liberation of motion, the vitality, the light and the color, without losses, leaving they be what they are. He goes along
the nature, at one moment abstracting it, at another watching its whole extension, gathering just the essential. His first virtue, as I already said, is his strong sensibility which match with a refined intellect, agile, lucid, that
analyses, places, dominates and never been mistaken. Sensibility and intelligence that means precision and eloquence; His art works are at the same time, full of strength and lyricism, rich composition with
simplification of lines, but with excellent sense of color and paste. Who, like him, looks for the truth, the essence, knows that, can find something close to those concepts through varied ways: it is established in his art
creations, as a whole, is the intensification of the expressive side, that, by the selected way he refers to the object under observation, transmits to us the message in demand, matching it, however, with a crude realism
or simple objectivity. This is the way to visualize our surrounded universe, starting in absolute images that slowly transmuted in different others. On the sense given by Pio Roda, in his artistic conception, he creates,
undoubtedly, the vibration which becomes valuable as visual art.
Prof. Alcidio Mafra de Souza, Art Historian, Rio de Janeiro, August,1993.
On the artistic side, Pio Roda has the sensibility that God gives to the talented ones; On his professional side he has the honesty of who cultivate the absolute true and the dedication to work proper of who loves what
This is the artist that I know. After five years of professional closeness, time that, day after day, experienced increasing success on the Brazilian market of art.
All above project a brilliant future.
Joao Carlos Lopes dos Santos, Consultant for the Brazilian Market of Art, October,1993.
The Sorcerer of Color
" ... It had to be like this. Pius detonated the pictorial past, to begin the new tomorrow without yesterday in his paintings. He decided to discover the new painting, which shyly liberate him from its subject. He went to find
it. The worry about movement belongs to spirits in constant boil. And his boiled spirit, like one volcano exploded in fire, scalded lava and light grew to the sky, dripped on earth and became mud and deadly and black
matter, and ashes, horrifying, dropping to the ocean, destroying everything on it way. Almost on the moment of his explosion, of the violent eruption like happen on ETNA'S of the life, after centuries of quiet and resign,
one day, annoyed bored by the stagnation, by the absence of flavor in life, by the fake resignation, explode. In his evolve and devastated march He drags powerful and unshakable stones, reaching his pictorial orgasm
- it is up-to-date the orgasm word, how itself, the word didn’t know its meaning, for long time hidden by the bashful, almost forgotten, poor thing!
Pius has to discover the new paint and new method to express what is in his mind: leave the hot and vibrant color and adopt his own hue of colors. Like a vagabond whose plays on the quiet. The silence of
imponderable deep water, full of mystery and surprises. - “I opted to work with one kind of trash - the used oil for engine - like agglutinate.” The man who dived in muddy water, disappointed and dirty uses the adjective
agglutinate for his trash of oil missed and not useful. This man isn’t the missed in muddy water, he is the agglutinate of the beauty. When he mixed his dark oil, repulsive, slimy, abject, he was realizing his catharsis.
‘Abdicate the clean color, the tenuous chord; symbolically his body dived in abominated world of the darkness, while his pure sensitive translucent soul wins the fear, the vomit, and the nausea. And from this tragedy
dived to the unconscious was born his most authentic and beautiful canvas.
This dive is the same as the myth of the Pascal Cave: Each human being had to travel pure through the darkness of his soul like was diving into his past.
Pius doesn’t look for the beauty of his paintings but the philosophy of the painting. How can he transform the dirty, the black in something that deserve to be look, research, understand and if possible beloved ..."
Claudio Gil, Studious of Art, September, 1998.
Pios Rodaman – the alchemist of the color.
Color and texture – essential aspect of the aesthetic proposal of Pio-Carlos Carrijo Roda – a Brazilian painter, whose history of life, in American territory, was marked by the fidget of who search to find space for the
proper way of expressing himself. Thus it is that, in 1999, the artist arrives at U.S.A., with the brightness in the eyes of who has a newness to show. In the gallery of Suzana Faccini, in the Art District of Miami, Pios
showed his art works carried through with dirty, used lube oil.
Despite the technique of the used oil had been recognized as interesting and innovative, it was impossible to continue to research the same material, since the studio where he worked did not offer the adequate
space to it and nor the used oil could easily be obtained. The painter, having that to make comfortable in the situation, returns to the old materials known accompanying of day – brush and traditional oil. Unsatisfied for
not being using the new resources, Pios, as that to kill the homesickness’s gone times, he bets in the reread his favorite thematic: still lifes, flowers and condominium. and the acrylic to reach the desired hue of color.
Ownership of the material of easy access, it was necessary to present new thematic. And it appears without difficulties because is fruit of rewarding loving experiences and confirms the romantic phase on his painting.
Geometric figures, soft colors, nuances of white and beige, presence of angels – everything to show the affection and moments of peace. However, the specter of the death showed its presence: it stole his great love;
it placed him in deep depression. Therefore, the year of 2004 no workmanship, no perspective, it was as white as nothing.
Like the Phoenix, our painter rebirth in 2005 and, as a process of reevaluation of his proper life, he started to sign Pios Rodaman, in homage to Ms. Ruth Erman – person who helped him to collect his own ashes. He
came back to the acrylic and he found in Mr. Miles Laventhal, the generous master, who leaded him to the high ability in the use of this media. He started to put in focus the geometric figure that considers the most
complete: the circle. This would symbolize the cycles, who knows, the return to the affirmation of the artist, according to him, seen that God, the greater of the artists, used the circle himself to represent the Earth, the
stars, the planets.
The canvases grew in dimension and became huge. They are privileged spaces as excuse to paint. And, at this moment, the artist reaffirms the conscience of always used the texture and color to enhance the form. By
the way, the fixation on the element color started when he was a child, of when, astonished, he collected bottles full of colored waters, reached by the mix and melting tissue paper.
Prof. Maria Luiza Castro e Silva, Doctor in Compared Literature, Master in Brazilian Literature, Critic of Art.,2006
From Niteroi to New York
My friend Pio, today consolidated and known in the North American market as Pios Rodaman, objectifying his next exhibition in “Agora”, the gallery of art in New York, requested me to write lines about his art-work. In
these occasions, even for professional vice, always I answer that I only write about the market of art; after all, this is my mono subject. On the artistic and pictorial part, such which all the mortals, I just affirm that I like or
dislike an art work. On the Pios Rodaman’s paintings: I like it.
Already I wrote on the workmanship and trajectory of this artist in October of 1993, when Pio and Jose Benigno Ribeiro, a Brazilian Artist, had an extremely beautiful collective exhibition at “Belas-Artes” Gallery, in Rio
de Janeiro. On that time I said:
“On the artistic side, Pio Roda has the sensibility that God gives to the talented ones; on his professional side he has the honesty of who cultivate the absolute true and the dedication to work proper of who loves
what does. This is the artist that I know. After five years of professional closeness, time that, day after day, experienced increasing success on the Brazilian market of art. All above project a brilliant future.”
Beyond today ratifying what I wrote 14 years ago, I notice that the text in fact is up-to-date for the present to the future. The traces of Pio’s personality and character are showing even more strength. Nor I can say that he
is the same artist, although he grew a lot as an artist, as a professional and as a human being.
From his charming city of Niteroi he went to Miami - Florida in October of 1999 and there he was settled down. Six years later he started to gather the fruits of his labor, from his patience, determination and workforce.
In the beginning he sold his art works to interior designers in Florida. In 2005, he became a signature member of the Boca Raton Museum of Art – The Artist Guild. In 2006 he was accepted to be represented by Agora
Gallery in NY, which gallery is located in two points in the City: Chelsea Art District and Soho Art District. He achieved the mega dream of all Brazilian artists: To succeed overseas.
Joao Carlos Lopes dos Santos, Writer, Consultant for the Brazilian Market of Art, Judicial Expert for the meters of the market of art and authorial, 2007
Pios Rodaman's passion for composition and color has evolved through years of exploration of the figurative and the abstract. Yet Rodaman's work is not just artistic investigation; ever since he created colors as a
child soaking colored tissue paper in water, Pios has invested his personal growth into his work.
He has most recently brought the universal shape of the sphere into his oeuvre. Straddling the line between representation and abstraction even more boldly than his previous works, Rodaman's sphere paintings
present artistic issues of dimension, shape, color and beauty as fresh, floating, gleaming orbs-new worlds for us to consider. The result is a graphic record of his struggles and triumphs. Pios Rodaman's ongoing
evolution as an artist, hand in hand with his personal growth and perseverance, has brought forth challenges and fresh possibilities of beauty; there's no telling where his future investigations will go, yet they are sure to
intrigue, challenge and move us.
Irene Khaytman, (2007)
The texts written in Portuguese were translated into English.