Detail from Série Love (Cacto), 2016, acrylic on canvas, 94 x 90 cm
Just like the peculiar moment when two people meet, a bridge connecting two points, a place of passage and union, in this exhibition the artworks present different configurations through several symbolic allusions: meeting and bonding, fragility and temporality, the transformation of life and things.
The marks on a tree trunk or on a plant, living elements, ever changing until its disappearance, transpose the passage of time and things. Trace and memory, a record of a given time, all framed by an attempt to capture one moment, by the quest for the permanence of a feeling.
Just like a possible poetic vision of meeting and connecting, two oranges, musics or mountains side-by-side, show themselves in pairs. A landscape transposed by a couple, a means of escape and evasion, or a closed gate, a passageway to the unknown. Paintings permeated of objects, marks and places, a symbolic encounter with life, ripe with new meanings.
The Vanitas installations are composed by several canvases, of various dimensions, placed on shelf or a plinth. In a fragmented composition of canvases, different everyday objects appear as a still life. Like a contemporary Vanitas, a different symbolic power is gained by represented objects.
The classical genre of painting takes a new appearance, in a interpretation, citation and questioning. This happens in its transposition from the wall to a shelf, as well as in the choice of the represented elements. When moved, from the wall, from its traditional position of contemplation, it becomes clear the materiality of the painting. The canvas is shown as any other object of the ordinary and banal day-to-day.
Painting, Art, becomes the subject of critical reflection. The painting puts itself as the object of representation, in a game of irony and wondering.
The painting of a turned back canvas, or a book, build different symbolic and conceptual readings. As a piece that transcends the artist life himself, like the painter’s canvases or a writer's texts, as a trace and mark of its passage, of its life, that over time is perpetuated. It is also a demonstration of the constant transformation of things, where everything loses its value facing death inevitability.
A snapped apple, a rotten orange, a plastic bag, some antidepressant pills, a bottle of wine, a flower, may symbolize vanity, futility, transformation, decay, precariousness, death ... The represented objects figure the idea of life’s fragility.
The Unbearable Weight of the Image
The photography advent unchained one of the biggest revolutions in image creation, originating the passage of manual to mechanical process. Production and reproduction development as well as the possibilities of digital domain, led to gradual hastening and mass production to levels never reached before. Due to its apparent proximity with reality, photographic image came to establish an alluring connection between referent and viewer. This relation, vicious circle sustainer, uninterrupted and exponent in consumption and visual production, promotes and determines contemporary society relationships, leading them for a culture of image. With time, boundaries and limits between reality and fiction are distorted. And, with the intensification of the power of image and mass media excess, the banality effect also appears, leading human experience to a kind of thought and senses sleeplessness.
Before the unbearable image weight, pictoric potential presents itself as evasion, escape to freedom, purification and reconfiguration.
The meeting with painting as a regenerator effect: returns meaning to images reanimating them, granting them new power, a new enchantment.
We are living in a era where human societies production and unrolled consumption generated growth and wastefulness in a scale never reached before. Limits have transposed and this saturation led us to an unsustainable excess. Like a still life, accumulated garbage gets piled, object becomes litter, the excess, perishable and ephemeral. Questioning society excess, the leftovers of mankind earn a new appearance transposing from daily to canvas.
The constant and unstoppable image spread and the information overdose that we are subjected daily transformed our way of seeing and feeling. Out of control haste is ruling, and defining communication and relationships of the several structures of contemporary society, led to a notion of loss of space and time.
The profusion of shocking images, exhaustively repeated, made us insensitive, indifferent, immerged us in some kind of drowsiness of senses. A crash image, a fatality becomes banal and common, waiting to be slaughtered by a curious, morbid and vague look.
New technologies brought us new possibilities, limits are not perceptible anymore. Body is mistaken by the machine questioning our limits.
What is the speed of our destruction?
At the present moment the constant economic and social changes affects societies globally. The concepts of speed, excess and limit appear as configurators and that characterize the contemporary human experience. Manifests itself a growing sense of the need for reconfiguration of the world and things.
The production and unrestrained consumption of the human societies generate an accumulation and waste on a scale never before achieved. The massification and banality of objects, transformed the way we interact with the world. The easily and immediate replacement of something lost, accentuates this materialistic living, where everything seems to be replaceable.
Every day countless objects are lost in cities on public transports or in the different areas of the city. Objects lost, or something forgotten on a bus, are delivered in the Lost and Found section, inventoried and stored, awaiting his recovery by the owner.
The various objects are accumulated in shelves, drawers and boxes ... From a trivial umbrella to a glucose meter, wallets, books, keys, bags, scarves, medicines, mobile phones, cameras, shoes, toys, coats, eyeglasses, dentures ...
As a repository, a museum of everyday life, each object gets a story to guess. The sentimental importance and material value to the person who lost. The experiences implied in each thing, the possible changes and consequences that the loss caused ... As archeology of contemporary life, that reading of the objects can define the very structure of society and culture, as a portrait of the city itself characterized and mediated by objects.
From individual to the global, where we observe others and ourselves. By the familiarity and identification of objects that surround us on a day-to-day and its importance in our lives.
The representation of these objects through painting appears as if it were a archive. As an atlas of contemporary experiences of everyday life. Where new symbolic values take place face to the various readings that become possible.
The representation of the presence of something missing, something that was lost and stored, awaiting the return of its owner, a limbo where all possible values, intrinsic, sentimental or others were decontextualized, to give place to a new reconfiguration.
In a increasingly accelerated World, where we unconsciously get lost in the routines of daily life surrounded by objects and consumption, life and things take on different values and meanings.
Born in 1978, Lisbon, Portugal.
Lives and works in Lisbon.
Master in Painting from the Lisbon School of Fine Arts (FBAUL).
Degree in Painting from the Caldas da Rainha Superior School of Arts and Design (ESAD).
Meet me at the bridge, Caroline Pàges Gallery, Lisbon.
Vanitas, Next Room, Lisbon.
Velocidade, Galeria NovaOgiva, Óbidos.
Lost and Found, Galeria do Museu da Carris, Lisbon.
Exposição, Caroline Pagès Gallery, Lisbon.
Trash Round the Corner, Round the Corner, Lisbon.
Limite, Caroline Pagès Gallery, Lisbon.
O Insustentável Peso da Imagem, Sala do Veado – Museu Nacional de História Natural, Lisbon.
Periplos – Arte Portugués de Hoy, CAC Málaga, Málaga, Spain
Masquerade, Caroline Pagès Gallery, Lisbon.
Atlas Secreto, Galeria Má arte, Aveiro.
Diálogos com as Obras do Museu Bienal de Cerveira, Sociedade Nacional de Belas-Artes, Lisbon.
Atlas Secreto, Círculo de Artes Plásticas de Coimbra, Coimbra.
Atlas Secreto, Casa da Avenida, Setúbal, Portugal.
Atlas Secreto, Igreja de São Vicente, Évora, Portugal.
Atlas Secreto, Espaço Mira, Porto, Portugal.
Atlas Secreto, Casa Bernardo, Caldas da Rainha, Portugal.
Jeune Creation Europeene, Amarante, Portugal.
Jeune Creation Europeene, Salzburgo, Aústria.
Jeune Creation Europeene, Pécs, Hungria.
International Call for Young Artists – XIV Edition, Valencia, Espanha.
Blind Date, Lisbon.
Jeune Creation Europeene, Bratislava, Eslováquia.
Jeune Creation Europeene, Hamburgo, Alemanha.
Jeune Creation Europeene, Klaipeda, Lituania.
Jeune Creation Europeene, Montrouge, França.
XVI Bienal de Cerveira, Vila Nova de Cerveira.
90-10 Exposição 20 Anos de Artes Plásticas ESAD_CRIPL SOMAFRE, Edifício XXI – Polo Tecnológico de Lisboa-Carnide, Lisbon.
Iniciativa X, Espaço Arte Contempo, Lisbon.
Cópia, Sala Bebé, Lisbon.
Vestígio II, Pavilhão 28, Lisbon.
Small is Beautiful, Caroline Pagès Gallery, Lisbon.
1990/2010 - Sala do Veado, Cabinet d'Amateur, Museu Nacional de História Natural - Sala do Veado, Lisbon.
Espacio Atlantico, Feira de Arte de Vigo, rep. p. Caroline Pagès Gallery, Vigo, Espanha.
Iniciativa X, Espaço Arte Contempo, Lisbon.
Still Moving Still, Espaço ArteContempo, Lisbon.
Mostra da XV Bienal de Cerveira, LX Factory, Lisbon.
XV Bienal de Cerveira, Vila Nova de Cerveira, Portugal (cat.).
The Drawing Salon, The Mews Project Space, Londres.
Accrochage 01/09, Galeria Luís Serpa Projectos, Lisbon.
Junho das Artes, Galeria do Pelourinho, Óbidos, Portugal (cat.).
Pavilhão de Portugal, Hangar-7, Salzburg, Austria(cat.).
Vestígio, Pavilhão 28, Lisbon (cat.).
Iniciativa X, Espaço Arte Contempo, Lisbon.
Aquilo sou Eu: Auto-retratos de artistas contemporâneos – Obras da Colecção (Safira & Luís) Serpa, Fundação Carmona e Costa, Lisbon(cat.).
3º Prémio de Pintura Ariane de Rothschild, Antiga Gráfica Mirandela, Lisbon (cat.).
Rasura, Espaço Avenida, Lisbon.
Opções & Futuros: Obras da Colecção da Fundação PLMJ #2_2006, Espaço Arte Contempo, Lisbon.
Cabinet d´Amateur II, Galeria Luís Serpa Projectos, Lisbon.
Accrochage 02/06_Nova Geração, Galeria Luís Serpa Projectos, Lisbon.
Trabalhos em Papel, exposição organizada em colaboração com Galeria Luís Serpa Projectos, Habitação Particular, Bairro Alto, Lisbon.
Controlo Remoto_Mutações entre o homem e a cidade, Galeria Luís Serpa Projectos, Lisbon.
Exposição de Finalistas, Centro Cultural Emmérico Nunes, Sines.
Video Exchange/Permuta de Video, New York University, Steinhardt School of Education, Department of Art and Art Professions, Nova Iorque.
Exposição de Finalistas, Escola Superior de Artes e Design de Caldas da Rainha (ESAD), Caldas da Rainha.
Caldas Late Night, Habitações Particulares, Caldas da Rainha.
Fundação Ilídio Pinho
Museu da Bienal de Cerveira
Museu da Carris
Isabel e Julião Sarmento
Luciano Benetton Colection
and other private collections in Portugal, France and Austria
CEPEDA, Rui Gonçalves – "A estranha arte dos portugueses" in IN-Noticias Sabado (JN & DN supplement), p. 80, 21 de Fevereiro.
OLIVEIRA, Luísa Soares de, - “Monumentos, recordações e outras ruínas” in Público-Ípsilon, p.33, 16 de Janeiro.
CEPEDA, Rui Gonçalves - "Leilão de Arte Contemporânea na Phillips de Pury & Company" in Diário de Notícias/Jornal de Notícias - Notícias Sábado nº 129, p. 54, junho.
CUNHA, Nuno - "Trato do Efémero" in Diário de Notícias/Jornal de Notícias - Notícias Sábado nº123, p. 58, 17 de Maio.
FAZENDA, Maria do Mar - "Danos colaterais da contemporaneidade" in L+Arte nº49, p. 86, Junho.
SANTOS, Rita - "Marta Moura" in Artnotes nº 21, p. 75, Junho-Julho.
FAZENDA, Maria do Mar - in cat. "AR: 3º Prémio de Pintura Ariane de Rothschild", Banque Privée Edmond Rothschild Europe.
MARTINS, Celso - "Rasura" in Expresso - Actual, p. 34, 2 de Junho.
AMADO, Miguel - in cat. "Opções & Futuros: Obras da Colecção da Fundação PLMJ #2_2006", Fundação PLMJ.
MARTINS, Celso - "Esplendor da catástrofe" in Expresso - Actual, p. 59, 19 de Novembro.