Hors d’oeuvre
2019- work in progress
Installation, performance
With Clarissa Serafim
Hors d'oeuvre is motivated by urgent issues within contemporary art: system, market, exhibition and reception of artworks. Conceived as an investigation in several phases, the project starts from a concern around what can be considered the traditional format of presentation of art works: the exhibition and its rituals.
Presented at
Anozero Bienal de Coimbra (2019)
Teatro da Didáscalia / Residência Fauna (2021)
Colégio das Artes (2022)
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Installation, performance
With Clarissa Serafim
Hors d'oeuvre is motivated by urgent issues within contemporary art: system, market, exhibition and reception of artworks. Conceived as an investigation in several phases, the project starts from a concern around what can be considered the traditional format of presentation of art works: the exhibition and its rituals.
Presented at
Anozero Bienal de Coimbra (2019)
Teatro da Didáscalia / Residência Fauna (2021)
Colégio das Artes (2022)
Azul
2019-2022
Drawing on blue carbon paper, 29 x 21 cm (each).
The series of works promotes an encounter between Brazil and Portugal through phrases used in contexts of symbolic, economic or political power, always having as a central element the word "blue". They form an illustrated lexicon in which old or disused expressions are presented that had an important presence in historical moments, such as the dictatorial periods experienced by both countries.
Presented at
Viarco Fabrica Portuguesa de Lapis Residency (2019)
Viva o Brasil*, curated by Nelson Ricardo Martins (2022)
*Photos: Vitor Garcia.
Drawing on blue carbon paper, 29 x 21 cm (each).
The series of works promotes an encounter between Brazil and Portugal through phrases used in contexts of symbolic, economic or political power, always having as a central element the word "blue". They form an illustrated lexicon in which old or disused expressions are presented that had an important presence in historical moments, such as the dictatorial periods experienced by both countries.
Presented at
Viarco Fabrica Portuguesa de Lapis Residency (2019)
Viva o Brasil*, curated by Nelson Ricardo Martins (2022)
*Photos: Vitor Garcia.
Projeto de chávena
Cup project, 2018
Photographs, architectural drawing, 3d modeling
“Cup project” was part of a installation created with Sociedade Anónima (SA), a collaborative project by artists Clara Sampaio, Jorge Cabrera and Raquel Moreira. It is an archaeology made by the artists from the remains of utilitarian porcelain abandoned at the Coimbra Sociedade de Porcelanas (1924-2005), a factory whose main production was utilitarian china for dinner and tea. After being acquired by the Vista Alegre company, with the intention of closing it down, the factory closed down after one of the biggest workers' strikes the city has ever experienced.
My work focuses especially on the cup, an object predominantly found in this industrial cemetery, as a way to capture its design, preventing its disappearance and facilitating its future process of recreation.
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Photographs, architectural drawing, 3d modeling
“Cup project” was part of a installation created with Sociedade Anónima (SA), a collaborative project by artists Clara Sampaio, Jorge Cabrera and Raquel Moreira. It is an archaeology made by the artists from the remains of utilitarian porcelain abandoned at the Coimbra Sociedade de Porcelanas (1924-2005), a factory whose main production was utilitarian china for dinner and tea. After being acquired by the Vista Alegre company, with the intention of closing it down, the factory closed down after one of the biggest workers' strikes the city has ever experienced.
My work focuses especially on the cup, an object predominantly found in this industrial cemetery, as a way to capture its design, preventing its disappearance and facilitating its future process of recreation.
Estrutura Superficial
2021
Digital photograph
Installation of A4 graph paper mounted on wall.
Presented at
Tirante (group exhibition with artists Felippe Moraes, Anton Steenbock, Raquel Garbelotti, Fredone Fone and Marcelo Venzon), 2021.
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Digital photograph
Installation of A4 graph paper mounted on wall.
Presented at
Tirante (group exhibition with artists Felippe Moraes, Anton Steenbock, Raquel Garbelotti, Fredone Fone and Marcelo Venzon), 2021.
Estrutura Superficial
Superficial Structures
Cutouts, 2017
Investigation on power symbols in the contemporary art system, it delves into folders, catalogues and other materials, identifying and removing any representations of the institution, to reveal its presence and space.
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Cutouts, 2017
Investigation on power symbols in the contemporary art system, it delves into folders, catalogues and other materials, identifying and removing any representations of the institution, to reveal its presence and space.
Ponta de Lança
Spearhead
Fine art print on hahnemuhle cotton paper, 2017
Presented at
The International Bienal de Cerveira, Portugal, 2017
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Fine art print on hahnemuhle cotton paper, 2017
Presented at
The International Bienal de Cerveira, Portugal, 2017
Palavra: fundação da ilha
2014
Installation
Passenger boat, typewriter, printed texts, sound, textile.
Variable dimensions
Collaborative work with artists Jean Pereira and Elton Pinheiro.
Presented at
Fabrica Lab Infinitas, Vitoria, Brazil.
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Installation
Passenger boat, typewriter, printed texts, sound, textile.
Variable dimensions
Collaborative work with artists Jean Pereira and Elton Pinheiro.
Presented at
Fabrica Lab Infinitas, Vitoria, Brazil.
Constelações
Constellations, 2018
Drawing, Installation
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Second Lowennial, No Prohibition: nothing is precious, exhibition curated by Galen Olmsted and Budd Dees
Presented at
The Low Museum for Contemporary Culture
Atlanta, USA
Drawing, Installation
Second Lowennial, No Prohibition: nothing is precious, exhibition curated by Galen Olmsted and Budd Dees
Presented at
The Low Museum for Contemporary Culture
Atlanta, USA
