Zéh Palito, The Modern Fauvist

Zéh Palito

Reflections of the Clouds on the Water-Lily Pond of the Nile Swim Club, 2024

Acrylic and Oil on Canvas

158 x 270 cm | 62 3/16 x 106 5/16 inch

Cars, Pools, & Melanin, Perotin New York

This vivid, expressionist work by Brazilian artist Zéh Palito illustrates a meditative yet charged scene, where a contemplative woman relaxes in a pool of water lilies. The pool serves as the main stage for the painting, consisting of bright blended hues of blues with bold circular swaths of green to form lily pads with white orbs, representing water lilies, floating amongst them. The lilies are surrealist in their presence and allude to Monet’s water lily series, effectively weaving historical references into a contemporary setting. The woman lies in the bottom right of the pool, her legs melting into the water and her elbows resting on the solid olive green swath of the pool deck. She dons a cozy purple Louis Vuitton hoodie, signaling an interplay between comfort and status. Beside her lies a delicate, pink martini, a papaya slice, and a book. The cover of the book is striking, depicting a Minstrel character that hints at the deeper racial undertones in Palito’s work. The border of the pool is geometric in design, juxtaposing the organic brushstrokes of the fauvist landscape in the background.

When I first saw this artwork, it instilled a deep sense of calm, enveloping me in a warm, natural familiarity. As both a woman and an artist in my own right, the figure felt safe and accepted. The large scale of the piece heightened this sensation, making me feel fully immersed in the scene, almost as though I were part of its surrealist world. The colors sparked an uplifting energy, while the subtle complexities of the textural brushstrokes, seamlessly blending oil and acrylic, captivated my attention. The pool’s skewed position, set at an angle that defies the frame’s alignment, began to suggest that Palito’s narrative was intentionally off-kilter—perhaps a commentary on moving away from modern norms. The cover of the book reminded me of Minstrel (1987) by Lyle Ashton Harris, and the exhibition in its entirety seemed to establish an empowering narrative for people of color, reminiscent of Harris’ oeuvre.

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