

The Sun Is Out
,
2026
Patrick Piccinelli
The Sun Is Out
2026
acrylic paint, paint marker, collage, ink, varnish
acrylic paint, paint marker, collage, ink, varnish
37.3
37.3
X
X
26.8
26.8
Available
$400
shipping worldwide included
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Artwork inspired by the title The Sun Is Out by Flora Purim and Airto.
The bird-voice. Flora Purim's voice, known for its scat singing and bird imitations, finds a visual echo in the ink drawing, a gesture that "takes flight" from the frame, like a rising voice.
From night to sun. The title "The Sun Is Out" evokes an emergence from darkness to light. The painting's chromatic progression—deep black, then vibrant pink, then an almost luminous blue-gray—can be interpreted as this same trajectory: night dissolving into dawn.
The jazz-Latin fusion of Purim and Airto lies precisely in this tension between a highly structured rhythmic pulse (Airto's percussion) and improvised vocal freedom. The painting reproduces this same formal duality: the free and splashy gesture of the bird at the top against the rigorous grid of pink lines at the bottom, like a rhythmic musical staff, almost a notation of beats.
Artwork inspired by the title The Sun Is Out by Flora Purim and Airto.
The bird-voice. Flora Purim's voice, known for its scat singing and bird imitations, finds a visual echo in the ink drawing, a gesture that "takes flight" from the frame, like a rising voice.
From night to sun. The title "The Sun Is Out" evokes an emergence from darkness to light. The painting's chromatic progression—deep black, then vibrant pink, then an almost luminous blue-gray—can be interpreted as this same trajectory: night dissolving into dawn.
The jazz-Latin fusion of Purim and Airto lies precisely in this tension between a highly structured rhythmic pulse (Airto's percussion) and improvised vocal freedom. The painting reproduces this same formal duality: the free and splashy gesture of the bird at the top against the rigorous grid of pink lines at the bottom, like a rhythmic musical staff, almost a notation of beats.






