FLAVIO MAN
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©2025
RUINS OF THE FUTURE
Buildings are not just structures; they are witnesses of time. They rise like abstract prisons, solid blocks held at their breaking point after carrying too much for too long. Now they begin to give way.
This is not a vision of destruction as an ending. It is about the moment when a structure is still standing but already failing, when the crack appears and something starts to fall with it.
These are not ancient ruins or futuristic dystopias. They are cities caught just before collapse.
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Nubes de angustia
100x150cm
2019
Nubes de Angustia captures neither past nor future, but the instant before everything falls down. The moment where the world holds its breath, awaiting transformation.
145x90cm
2019
This is the instant destruction. Structures shatter into fragments, torn by unstoppable forces. Here is pure transformation, a threshold where the past vanishes, leaving behind only fragments.
Sonambulo caminando de noche
Sleepwalker at night
110x70cm
2019-2024
The world is falling apart, but he keeps walking. Between reality and dream, between what is collapsing and what has yet to form. A sleepwalker moves uncertainly through this nighgmare landscape, not sure if awake or dreaming.
Fabelas
100x70cm
2019
Precarious, chaotic, unstable... but still there. It is not only an image of resistence, it is an exploration between survive and stay of the collapse.
A city build of necesity, constantly adapting a survival architecture.
Escalera
90x75cm
2019
Escalera (stairs) is a metaphor and object, between ascent and downfall. It is not an answer, leaving viewers to choose: Are we climbing toward progress, or descending into oblivion?
THEATER OF ABSURD
The works gathered here come from different moments and tensions, but they all share the same impulse: to record the instant when structures fail, symbols break apart and the absurd becomes the only certainty.
The aim is not to offer answers, but to invite the viewer into an intermediate, unstable space, where reality turns blurry and time stops moving in a straight line. Each work is a fissure, a trace, a scene inside a theatre without a script, where figures do not resolve the situation but simply witness it, like us.
Brick falling over the head
90x70cm
2025
This artwork comes from an experience I lived, minimal and brutal: the moment a flowerpot fell from above, thrown by a crow, and passed just a few centimeters from me. It’s not a metaphor. It’s chance and absurdity as the only reason for existence.
Brick falling on a head reflects and satirizes the fragility of life, the uselessness of grand discourses, and the absurd violence of the everyday.
Jonkie bird believes that everything is fine
90x70cm
2025
The bird is calm, but everything is trembling around it. This sweet creature holds an invisible threat. Denial as a form of existence. All is fine... until it isn’t.
Bird king with red shoes
150x100cm
2025
An absurd and majestic figure.The king of a world that no longer stands.Yesterday he was the master, today a vagabond, his kingdom is nothing but ruins.
Useless Objects from the Future
90x70cm
2025
These are part of ruins of the future that collapsed before it arrived. The paint is an archaeological sketch when language failed, when the only thing left was the act of marking presence.
The objects depicted here no longer serve any purpose. Perhaps they never did.
It remembers something that never fully existed.
CAVERN AND ECHOES
This series is a bridge between the prehistoric and the present, as if the walls of a contemporary cave were covered with the remains of a collapse. Automatic lines and faded backgrounds evoke archaeological fragments, something on the verge of being erased.
Each painting reads like an echo of a civilisation in decline. The figures are not heroes or mythological beings; they are entities caught inside the fall. They are records of human fragility in a time of acceleration and destruction, in a world that is disappearing in front of our eyes.
Cavern #1 – The Shaman of the Cave
40x40cm
2019
A shaman emerges from a washed-out background, barely held together by minimal, fragmented lines. The strokes suggest a presence struggling not to disappear, a final attempt at connection with something sacred amidst erosion.
Cavern #2 – The Leaning Tower
40x40cm
2019
The structure seems to be collapsing, caught in a precarious balance. A bridge, a broken staircase, or a spine on the verge of giving in. The figure is not yet fallen, but it is doomed to do so. Its posture conveys a state of perpetual tension, resisting entropy.
Cavern #3 – The Witness of the Cave
40x40cm
2019
A face emerges from an eroded surface, with overlapping eyes and a barely defined mouth. This is not a portrait but an echo. The witness is not looking outward but into history itself. It is an image of distorted memory, where what remains is only a blurred version of what once was.
XXI Century Caveman II
100x70
2019
The marks on the surface are more spaced out, as if erosion had left only the most persistent traces. This is an image of forgetting in progress, where absence is as significant as presence. What was once an articulated language is now just a murmur of scattered signs.
XXI Century caveman
110x70cm
2019
Here, the cave ceases to be a shelter and becomes a time capsule, layers of history overlapping without context. The lines evoke prehistoric inscriptions, yet they also resemble the remains of a collapsed civilization trying to hold onto its own history before fading. The work suggests that the primitive and the futuristic are not opposites but cycles of the same process of destruction and reconstruction.
Saqueadores del pasado (Plunderers of the past)
90x50cm
2019
"Plunderers of the Past" portrays history as a landscape of extraction, where scattered fragments are desperately recovered, interpreted, or possessed. Errant entities excavate through ruins, collecting not just material remnants but symbols. Erratic brushstrokes and shifting forms suggest perpetual decay—a broken cartography where past and present blur into one
FRAGMENTED BODIES
Man with umbrella
2023
A figure dissolving into its surroundings, resisting and fading at the same time. The umbrella is a fragile defense, a futile attempt at shelter against an inevitable storm. He is not an individual, but an echo of human frailty, a ghost walking through the ruins of a collapsing world.
El gato
2017
25x30cm
This is not just a cat; it is an observer, frozen in time, caught between presence and disappearance. It does not act but watches, bearing witness to a world unraveling around it. There is no escape, only the quiet acknowledgment of forces beyond control.
Marioneta (Puppet)
2018
35x25cm
San Vito Dance
2017
San Vito Dance is a forced movement, a convulsion rather than a choice. Its a dance dictated by external forces. The figure is consumed by its own movement, unable to stop, unable to resist.
selfportrait
50x70cm
2017
In Fragile Structures the world exists on the edge of disappearance. Forms emerge and disintegrate, buildings fade into dust, gestures leave only a mark before vanishing. Absence is as present as form; what remains is a brief imprint of what once was. Nothing here is stable, everything appears only as a temporary trace of uncertainty.
Portrait of a City in Spring
60x50cm
2019
The soft palette and structured elements suggest harmony. But fractures emerge upon closer inspection, forms assembling or collapsing, lines failing to connect, blocks floating without anchor. It is a city in transition,
a structure that may be growing or breaking apart.
End of the winter
80x60cm
2019
This work captures the fragility of seasonal change, not just climatically, but emotionally and existentially. The desaturated palette and pigments melting into canvas reflect Berlin's prolonged winters. A city emerging from snow, a psyche emerging from winter's oppression.
Raindrop
50X70cm
2020
Ink drips like an abstract tear, a presence dissolving into emptiness. In this work, absence is not an emptiness but a gravitational force. The fall is not just physical—it is affective.
Noctural wind
60x80cm
2019
A nocturnal wind plays between chaos and resistance.
An ephemeral balance between solidity and the ethereal, between permanence and transformation. Like a building resisting a storm or a gestural trace leaving its mark before dissipating.
The works in Outer Limits offer no certainties. They are thresholds into an unstable space, where reality dissolves and mutation is the only constant.
The Astronaut
100x75cm
2020
This astronaut is not an explorer; he is a castaway. His helmet is not a shield but a fragile stitch barely holding him together. His suit is a collage of broken civilizations, technological ruins, and memories sewn into his body.
Between resistance and collapse, between humanity and the machine, The Astronaut stands as a testament to modern alienation. A lost figure in an urban landscape that no longer offers a home.
The Canary
2019
At the heart of this work lies the theme of vulnerability amidst urban chaos. There is a tension between the fragility of the canary and the disorder of its surroundings, which can be read as a reflection on survival in a world on the brink of collapse.
The Canary does not depict collapse as a past event, but as a tense instant where potential ruin hangs silently in the air.
The Witch
2020
Like an altar of the unknown, "The Witch" places us in a space between the domestic and the ritualistic, where everyday objects take on a new meaning under the influence of magic. Among ovens, shelves, and fragmented structures, an enigmatic figure emerges a forgotten goddess, or the echo of urban alchemy itself. Invites the view tofind beauty in the unseen, for those who see the city as a place of spells and ruins as a possibility for rebirth.
After party
2019-2024
In After Party, the remnants of the night unfold in a chaotic composition where vibrant energy collides with disintegration. Is this a memory, a hallucination, or a city that refuses to wake up?
This painting does not depict a stable world. Instead, it captures the moment of transition between states, a space where reality liquefies, and all that remains is the residue of intensity.
Open door to hidden street
2024
This painting is an invitation to step through invisible thresholds, to immerse oneself in what remains hidden beneath the surface of the city. The work captures a transitional moment, as a nocturnal breeze lifts routine's veil, revealing hidden paths, forgotten alleys, and architectures between dream and reality.
PRIMITIVE GARDEN
In Primitive Garten ruin is not a relic of the past but the ground for ongoing transformation. These images hold no romanticism; concrete cracks, the jungle devours it, scars multiply across the surface. Nature is not a refuge, it is an organism that absorbs, assimilates and distorts what remains. It is the present, the only structure that persists when everything else has failed.
Human presence fades into stains, erratic lines and expanding fissures. Architecture does not disappear; it remains as a shell that no longer belongs to us.
Human presence fades into stains, erratic lines and expanding fissures. Architecture does not disappear; it remains as a shell that no longer belongs to us.
SCRATCHES
50x70cm
2017
CEMETERY GARDEN
2017
Dragon flyng
2017
CONCRETE CONSUMED BY JUNGLE
35x25cm
2017
Song of the donkey
50x70cm
2017