Tapestry
Created by Rubem Valentim
Brazil, 1970s
Wool tapestry

Measurements
80 cm x 133h cm
31,5 in x 52,4h in

Provenance
Private collection

Edition
Unique Piece

Literature
Valentim, Rubem. A síntese dos signos afro-brasileiros. Museu de Arte da Bahia, 1980.
Cavalcanti, Lauro. Afro-Brazilian Symbols in Modern Art, MAM Rio de Janeiro, 1996.
Sergio B. Martins, Modernity in Black and White: Art and Image, Race and Identity in Brazil, MIT Press, 2019.

About
This untitled tapestry by Rubem Valentim exemplifies his lifelong pursuit of a syncretic visual language, rooted in Afro-Brazilian cosmology and geometric abstraction. Woven in the 1970s, the composition features a constellation of bold, symbolic forms—arrows, chevrons, triangles, and circles—arranged along a central axis. These motifs draw directly from the ritual iconography of Candomblé and Umbanda, transformed here into a codified system of signs.
Valentim’s tapestry is not merely decorative—it operates as a visual manifesto. The symmetrical and rhythmic arrangement of shapes evokes the liturgical structure of Afro-Brazilian religious practice, while the earthy palette of ochre, burgundy, and indigo lends the work both presence and solemnity. This piece echoes the artist’s belief in the spiritual potential of abstraction, a concept he developed in tandem with his sculptural and pictorial works during the same period.
As with his paintings and reliefs, this textile functions as a "visual prayer", balancing order, transcendence, and cultural affirmation. It stands as a rare example of Valentim’s experiments in textile—an extension of his broader project to reclaim and elevate African heritage within the canons of modern art.

Biography
Rubem Valentim (1922–1991) was a key figure in the art renewal movement in Bahia during the mid-20th century, whose work merged spiritual symbolism, Afro-Brazilian heritage, and geometric abstraction into a distinct visual language. Born and raised in Salvador, the city with the largest Black population outside the African continent, Valentim was immersed in the mystic symbolism of African religious traditions in Brazil, particularly Candomblé and Umbanda, which play a central role in his artistic universe.
Throughout his career, Valentim resisted both folkloric exoticism and purely formalist abstraction. Instead, he developed a sophisticated visual system built on syncretic symbols, particularly those derived from Candomblé and other Afro-Brazilian religions. His work bridges the sacred and the modern, the ritualistic and the rational—creating compositions that function like visual mandalas or conceptual totems. The ritual instruments, physical structures of the terreiros (ceremonial houses), and the symbolism of the deities are depicted in his work as signs—stylized images that result from a refined aestheticization of these figures. Two defining characteristics of his art are the symbolic use of colors associated with the orishas and the recurring geometric shapes, including rectangles, circles, triangles, and trapezoids. These elements are meticulously arranged in his paintings, prints, reliefs, and sculptures. Valentim transcends a simple formalist approach to religious imagery, maintaining a strong connection to its origins and reinforcing the meanings tied to these symbols—such as protection, sexuality, birth, death, rebirth, and the natural cycle of life.
While spending formative years in Europe in the 1960s, Valentim absorbed modernist influences, but never abandoned his cultural grounding. Upon returning to Brazil, he became a key figure in affirming Afro-Brazilian identity through form—often working across painting, wood assemblage, and architectural interventions. His visual language is instantly recognizable: modular, coded, and deeply intentional.
Valentim's work stands out not only within the history of Latin American abstraction but also in the broader conversation about how cultural specificity can redefine the boundaries of modernism and design. His pieces have been exhibited internationally and form part of major collections including the MoMA (New York), Centre Pompidou (Paris), and MASP (São Paulo).