"Poppin Joze" by OSGEMEOS at the Hirshhorn Museum, Washington, D.C.
This photograph features “Poppin Joze”, a vivid mixed-media work by Brazilian street art legends OSGEMEOS, as exhibited at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Known for their instantly recognizable yellow-skinned figures, twin brothers Otavio and Gustavo Pandolfo infuse their work with a surreal, dreamlike energy that draws from Brazilian culture, hip-hop, graffiti, and personal memory.
In Poppin Joze, we meet a stylized family rendered in OSGEMEOS’s trademark style: elongated limbs, small eyes, patterned clothing, and a flat, matte yellow skin tone that’s intended to represent a “neutral” humanity. The central figure, Joze, sports a bold blue shirt with “POPPIN JOZE” printed across the chest, surrounded by family members who evoke both intimacy and tension. A baby is cradled at the mother’s hip, a girl picks her nose, and a revolver is playfully (yet ominously) pointed into the frame.
Though cartoonish at first glance, the work is rich in emotional and socio-political resonance. This is a domestic scene shaped by urban hardship and resilience — equal parts tenderness, chaos, and coded commentary. Household clutter, scribbled wall drawings, and worn clothing all add to the textured realism. The shelf in the background with bottles and cans, the tired flooring, and the stereo speaker tucked under a foot all speak to lived-in space — layered, imperfect, real.
Framed in a vibrant green box and photographed against the Hirshhorn’s distinctive lavender wall during a special exhibition, Poppin Joze reflects the museum’s commitment to showcasing cutting-edge global contemporary art. OSGEMEOS, who began their careers as graffiti writers in São Paulo, have since exhibited in major institutions worldwide — and here, their street-inspired visual language translates powerfully to the museum setting.
This photo captures the artwork in full color and context — documenting not just the piece itself, but how it breathes within the museum space. It stands at the intersection of street and fine art, personal and political, playful and profound.
"Poppin Joze" by OSGEMEOS at the Hirshhorn Museum, Washington, D.C.
This photograph features “Poppin Joze”, a vivid mixed-media work by Brazilian street art legends OSGEMEOS, as exhibited at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Known for their instantly recognizable yellow-skinned figures, twin brothers Otavio and Gustavo Pandolfo infuse their work with a surreal, dreamlike energy that draws from Brazilian culture, hip-hop, graffiti, and personal memory.
In Poppin Joze, we meet a stylized family rendered in OSGEMEOS’s trademark style: elongated limbs, small eyes, patterned clothing, and a flat, matte yellow skin tone that’s intended to represent a “neutral” humanity. The central figure, Joze, sports a bold blue shirt with “POPPIN JOZE” printed across the chest, surrounded by family members who evoke both intimacy and tension. A baby is cradled at the mother’s hip, a girl picks her nose, and a revolver is playfully (yet ominously) pointed into the frame.
Though cartoonish at first glance, the work is rich in emotional and socio-political resonance. This is a domestic scene shaped by urban hardship and resilience — equal parts tenderness, chaos, and coded commentary. Household clutter, scribbled wall drawings, and worn clothing all add to the textured realism. The shelf in the background with bottles and cans, the tired flooring, and the stereo speaker tucked under a foot all speak to lived-in space — layered, imperfect, real.
Framed in a vibrant green box and photographed against the Hirshhorn’s distinctive lavender wall during a special exhibition, Poppin Joze reflects the museum’s commitment to showcasing cutting-edge global contemporary art. OSGEMEOS, who began their careers as graffiti writers in São Paulo, have since exhibited in major institutions worldwide — and here, their street-inspired visual language translates powerfully to the museum setting.
This photo captures the artwork in full color and context — documenting not just the piece itself, but how it breathes within the museum space. It stands at the intersection of street and fine art, personal and political, playful and profound.