The Bite Magazine - Spring/Summer 2026 - Issue 39

biteart Together, their works created a performative environment in which narratives emerged slowly, almost in secret, as if whis- pered between the pieces themselves. In their Miami debut, both artists offered a mysterious and playful experience, invit- ing viewers to follow the shifting clues of their shared universe and discover the many stories hidden beneath its surface. Despite Canevari’s growing international attention, his ap- proach remains grounded in a slow, introspective process. He describes the beginning of a painting as the most difficult stage, especially when sketches do not work, and ideas refuse to take shape. It’s a frustrating, uncertain period, but a necessary one. The reward comes later, in a small shift when the image begins to cohere, when the painting starts to hold itself together. “It’s usually a very small shift, but suddenly everything feels more precise.” His favourite works are usually the most recent ones because they feel closest to what he is trying to reach. The artist desires to push the world he paints to a greater scale and complexity, creating larger scenes where more things can happen at once. His landscapes are not passive backgrounds but open, expansive environments tinged with unease. They are places where something could happen, even if that something remains undefined. This openness is central to his practice. He resists the idea of delivering a fixed message. Instead, he cre- ates images that remain unresolved, allowing multiple readings to coexist. The ambiguity is intentional, but it’s what gives the work its subtle tension. His influences are varied and personal. He admires artists such as Fermín Eguía, Mildred Burton, José Gamarra, and contem- porary figures like Sebastián Gordín, Ornella Pocetti, Max Gómez Canle, Marcel Dzama, Mu Pan, and Rosa Loy. Yet he doesn’t wish he had made anyone else’s work. “I actually like seeing works and not fully understanding where those ideas come from.” That sense of mystery is something he values as a viewer and as a painter. Outside the studio, Canevari’s life is grounded in simple pleas- ures such as watching films, cooking, spending time with his partner and his dog. These routines offer a counterbalance to the slow, sometimes frustrating process of painting. They also feed into his work in indirect ways, shaping the atmosphere rather than the content of his images. When asked what makes a cutting-edge artist, Canevari re- marked, “I think it has to do with developing a language that feels necessary, not just stylistically but in terms of how it thinks about images.” His advice to aspiring artists reflects this belief of focusing on developing your own way of working, even if it takes time. The art world, he notes, moves quickly and is in- creasingly driven by images that circulate rapidly. “Sometimes it leaves little space for slower practices or for works that require more time to unfold.” Looking ahead, Canevari is preparing for a solo show in Bue- nos Aires this August, working on new paintings that continue to expand the world he has been building. Now represented by Mindy Solomon Gallery, he hopes to show again in Miami soon, a place where his work has found a receptive audience. But wherever his paintings travel, they carry the same unset- tling beauty: a landscape that feels familiar until it doesn’t, a world that invites you in while keeping something just out of reach. https://mindysolomon.com/artist/marcelo-canevari Images courtesy of Marcelo Canevari and Mindy Solomon Gallery