armadura medieval

From childhood, in Bahia until São Paulo

As a child, Silvio divided his leisure time between drawing nature and watching science fiction series on TV. As a young man he developed a great interest in scientific simulation, centring on the aesthetic representation of knowledge. At this time in his life he turned into a constant fixture at science fairs in schools. At the peak of his youth, while attending a diocesan college, he took part in the stage settings for religious theatre. However, countless visits to museums were what had the greatest influence upon the artist, to the point where he decided to sit for the museography entrance examination at the University of São Paulo (USP). He also tried archaeology and natural history but he did not succeed in entering either. Once his head cooled off, he saw he had no option but to face reality, surrendered and started working in a bank. He determined then to spend any leftovers from his salary on a preparatory course and subsequently entered the School of Fine Arts of São Paulo where, today, we find the São Paulo state Pinacoteca Building. Studying, however, required a number of materials that were beyond his financial limits. There was just enough money to pay for the rent – which he shared with two other people, practically unknown to him – and for faculty fees.

Another event was the university’s change of location to another address, for it was the architectural glamour of the new building, designed by Ramos de Azevedo’s office in 1897 which fascinated him the most. In the end, he was forced to terminate his academic adventures and he headed towards a self-taught method of education. Under the influence of the new times, in which the cinematographic industry was constantly enriching the visual arts, Silvio departed to the world of science fiction, with a special fascination for the field of special effects. In the middle of all the events of the 1980’s where both Aids and pop culture established the first accords of an elaborate symphony, as it were, the artist immersed himself in the underworld of the city of São Paulo, creating scenarios for nightclubs, costumes for shows and all that was required for the performing theatre. The year was 1987. The background of this movement had been outlined in 1985, the year of the first edition of Rock’n Rio. The festival brought to light musical bands such as Barão Vermelho, Os Paralamas do Sucesso, Blitz, Kid Abelha and others, as well as the internationals B-52’s, Queen, Nina Hagen, Go-Go’s…