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Landcuts

Landcuts

2018
Lithographic pencil on paper
42cm x 59,4cm

Part of a series of drawings, Landcuts shows us cropped landscapes produced by light cutouts that resembles glowing screens. The drawing was made with lithographic pencil, which enabled me to capture a noisy and grainy ambience usually associated with the light-sensitive materiality of film.

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Das sombras que permanecem

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Das sombras que permanecem

2017
Mixed media installation
Video, sand, glass, drawing

Das sombras que permanecem is an installation that explores the struggle between the motionless time and the infinite movement that resonates in the cyclic phenomena of nature and in the human condition resilience. In this tense game of contrasts between mobility and immobility of the image, opacity and transparency of the materials, crystalline luminosity or shaded diffuse projection, we can witness the unfolding of a mobile landscape of uncertain contours inhabited by motionless characters that remain in a position of suspended effort. The cycle of nature, here represented by the tides, the verticality of the incessant movement of the waves that spread out and transform into allusive earth features, the perpetual movement of the inert characters, contribute to reflect on the subtle changes in the repetition of events inherent to the experience of time and the human endeavour in dealing with that contingency.

Fundação da Juventude. Palácio das Artes, Porto, Portugal, 2017.

O tempo da paisagem

O tempo da paisagem

2017
Lithographic pencil and charcoal powder on paper
42x29cm

Fundação da Juventude. Palácio das Artes, Porto, Portugal, 2017.
Salle Vieira da Silva / Maison du Portugal, Paris, França, 2018.
Museu Arqueológico do Carmo, Lisboa,Portugal, 2018.
Sala Acua / Centra de Iniciativas Culturales. Cuenca, Espanha, 2018.

Beneath him in the bottom of the deep,

Sees many beauteous sights—weeds, fishes, flowers,

Grots, pebbles, roots of trees, and fancies more,

Yet often is perplexed, and cannot part

The shadow from the substance, rocks and sky

Mountains and clouds, reflected in the depth

Of the clear flood, from things which there abide

In their true dwelling (…)1

1   William Wordsworth, in Prelude.

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A natureza entre dois mundos

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A Natureza entre dois mundos

2013
Mixed media installation
Video, loop (colour, sound), mirror, steel.

This installation had its starting point the representation mode of the Eastern culture which implies a process of reverse painting as opposed to the pictorial representations of the West, since the first layers of the painting are the first ones visible across the glass, and the last strokes are the least visible. This process is precisely the opposite of the pictorial representation that characterizes the tromp l’oeil of Renaissance painting.

Starting from this idea, A Natureza entre dois mundos (The Nature between two worlds) displays the possibility of presenting both the front and back of the projected video image, as if we were able to see, at the same time, the beginning and the end of its creation, as if the image could tell two truths at the same time.

Galeria da Faculdade de Belas-Artes da Universidade de Lisboa, PT

Encontro catróptico num plano inesperado

Encontro catróptico num plano inesperado

2012
Mixed media installation
Photograph, video (loop, sound)mirror, furniture.

On this specular surface a set of projected images are presented. They can be revealed only when the viewer looks from a particular point of view (the sublime point, where both sides of a duality can be understood simultaneously) in relation to the mirror, just like an anamorphic image. Thus, the reflected image “fits” in the transparent or blank areas of the mirror, which in turn present the projected images. The specular space restores some consistency, but also a certain awkwardness. The spectator, standing in a particular point of view, faces the confrontation between all direct and deferred projections, specular and videographic. All these components are in tension on a flat surface: the mirror.

This installation presents the notion of projection according with three distinct possibilities: 1) a projected image, using light; 2) an image reflected by a specular surface; 3) and a perceived image of the set of the first two, according to a particular point of view.

Casa-Mudeu Medeiros de Almeida, PT

O espelho da cidade

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O espelho da cidade

2011
Installation, two mirrors, Looped video, mute.

This video shows an image from the beginning of the XX century, depicting Portuguese intellectuals and artists in Martinho da Arcada coffee shop, located in Lisbon. This film was shot under water, taking advantage of its movements and describing a counterclockwise circular camera motion. It represents the erratic passing of time, constantly interrupted by the fluid movement of the water that mirrors and reflects the symmetric image.
This video was retro-projected on a blank area of the mirror. Consequently, not only is the video image itself (deferred) reflected through the water, but it also relates to the viewer’s own image reflected at that very moment.

On the mirror on the right there was a sentence from Almeida Garrett that implies that anyone that enters a coffee shop can see the culture underneath, much like as if that particular coffee shop was the mirror of the city of Lisbon at that time.

Nacional Academy of Fine Arts, Lisboa, PT.

Depois do ouro, do incenso e da mirra… A primeira Ceia

Depois do ouro, do incenso e da mirra... A primeira Ceia

2009-2010
Project Room: mixed media installations, video and drawing.
Co-autoria: Inês Moura

Depois do ouro, do incenso e da mirra… A Primeira Ceia was a Project Room co-authored with Inês Moura, with a duration of a month that culminated in a day of presentation of several works. It consisted of a series of projects that were based on installation, video, drawing and performance, areas of interest and research of both authors that proposed work in unconventional.

Loja 6 do Chiado Plaza, Lisboa, PT

Movimentos em pausa

Movimentos em pausa

2009
Site specific installation
Video (transcripted super 8, colour, no sound, 15′ looped)

Loja 6 do Chiado Plaza, Lisboa, PT

Alice no Mundo de anastácio

Alice no Mundo de Anastácio

2009

Installation:
Copper plating (printing arrays), acrylic and steel, engraving on paper and acrylic sheet.

Printing:
Mixed technique (photolithography, etching, mezzotinta on paper; silk screen printing, on acrylic sheet)

Casa-Museu Anastácio Gonçalves, Lisboa, Portugal, 2009.
Centro de Cultura Contemporânea da Universidade de Granada, Espanha, 2010.

O mesmo que

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Manuscrita

These videos are part of an audiovisual sculpture and brings into question the absence of the conventional use of its own sculptural techniques. These videos seek to test the limits on the technological language of sculpture by exploring the performativity of gesture and the hand as a tool in the process of artistic creation, and ultimately question whether the artist still depend on his/her handicraft.
The actions portrayed in the videos are redefinitions of words, which are already directly or indirectly linked with the issue of handcraft.

 

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Manufacturar

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Manipular

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Manobrar

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