In All top teeth knocked out at once, Canedo de Souza's paintings resist quick consumption, demanding instead that viewers turn inward. Built from furious excavation, unrestrained circular gesture, and deliberate meditative marking, the works release what the body has long held. Rather than exposing personal trauma to satisfy art-world appetite, June provokes a Rorschach-like reckoning: visitors to her studio described floating shapes, shifting opacities, images surfacing from their own visual memory. The paintings offer not the artist's secrets, but a mirror for those who gaze.
