with its Walls of tangled strands.
Find the living flame
That burns on blood.
Myspace Layouts at Pimp-My-Profile.com / Blue Burst
Social Science student in Management of the Patrimony and Cultural Organizations. UAB - Aberta University - UAB. (Public University.1994 to 1997 – Degree in Drawing. AR.CO. Lisbon.
1988 to 1989. Intensive Study in specific expertise classes of Painting, of Sculpture and in Drawing. AR.CO. Lisbon.
1990/93 –Secretary of board and member in the comitte manegemment of the National Association of the Plastic Artists (ANAP).
1993 - Member of the Official Jury of the International Movie Festival of Figueira da Foz.
1990 - Co-foundress of the National Association of the Plastic Artists (ANAP). Porto.
1988 - Member of the Júri CIDALC (Comité International des Arts et Lettres par le Cinéma) in the International Movie Festival of Figueira da Foz. Portuguese representation.
1998/99 - Artistic collaborator of the Youth's Association and Defense of the Artistic Patrimony, Historical and Cultural of the Naturals of S. Jorge. Velas. Island of S. Jorge. Azores.
1998 - Execution of Paintings murals and external Logo for Agrogema – Cereal Factory. Island of S. Jorge. Azores.
1999 - Graphic execution and plastic organization of the equipments and interior space of the Cafeé Milénio -Velas. Island of S. Jorge. Azores.
2000 - Plastic and graphic organization of the First mega-party trance Goa in Azores. Factory of the Whale, Island of Faial. Conception of the party idea and Logo execution, paintings, posters, pamphlets and Deco.
Djs BAS & RAM - Protocol, Amsterdam. www.protocol.ams.com
2003 - Plastic and graphic cooperation of the permanent exhibition on weaving to the Museum of S. Jorge. Calheta. Island of S. Jorge. Azores.
Individual Exhibitions
1990 - House of Bocage - Museum of Setúbal. Setúbal.
1991 - Loios gallery. Porto.
1999 - Municipal auditorium of Velas. Island of S. Jorge. Azores.
1999 - House of the Culture of Calheta. Island of S. Jorge. Azores.
1999 - Gallery Augusto Pereira. Montemor-o-Velho.
2001 - gallery of exhibitions of Santa Cruz's Inn. Week of the Sea. Island of Faial - Azores.
2003 - Museum of S. Jorge. Calheta. Island of S. Jorge. Azores.
Collective Exhibitions
1986 - Chrishop Girassolum. Coimbra.
1988 – Municipal Museum Dr. Santos Rocha. Figueira da Foz.
1988 - Gallery of the Figueirense Assembly. Figueira da Foz.
1990 - International exhibition of Postal Art. Barreiro. - International exhibition of Small Formats Blooming (Arts Oxford). England.
1991 - TELEARTE. Postal Art. Campinas. Brazil.
1991 - VII Biennial of the Avante Festival. Seixal.
1992 - IV International Living room of Postal Art. City Hall of Barreiro. Barreiro.
1992 - Nucleus of Postal Art. S. Paulo. Brazil.
1993 - Exhibition of Small Format. Gallery Box of Art. Porto.
1993 - Cultural Week of Velas. Island of S. Jorge. Azores.
1993 - XII Collective Exhibition from the Partners of the Àrvore Cooperative of Artists. Mercado Ferreira Borges. Porto.
1993 - Nucleus of Postal Art. S. Paulo. Brazil.
1993 – Tourism Gallery of Buarcos. Figueira da Foz.
1993 - International Art Competition. Soyo Gallery. New York.
1994 - International Art Triennial. "Majdanek 94". Lublin. Polónia.
1994 - FIMAGEM 94 - Municipal Library. Municipal Museum Dr. Santos Rocha. Figueira da Foz.
1995 - VII Living room of Spring. Art Gallery of Casino Estoril. Estoril.
1999 - Municipal auditorium of Velas. Island of S. Jorge .Azores.
2000 - II Encounter of Plastic Artists. Beach of Vitória. Island of Terceira. Azores
Contents
My aesthetic journey has brought me the records increasingly subjective but in trying to reflect post-modern trends in the daily life and that is as much sublime as exceptional.
This route is in the gesture, which has an important metaphysical weight.
First of all, is what matters most: to bump into a truth that in this manner is discover, in the midst of so many others, but is the necessary truth, unique, only where the salvation “mise en ouevre "still is. (in Heidegger, The origin of the work of art).
Secondly, it is not only gathering justificative references. It is thought and impulse, the two states that lead me to successive and possible rebirths.
It's the matrix that clarifies the line that rises and continues in the drawing, and then resume with other languages to trace the gesture from that I can understand the glimpse from the vision of the space.
Nevertheless, my procedure notes the discovery that plastic principle of dialectic observation, and its synthesis made with the rigour both in drawing and in practice of virtuous hand.
State of the art
The painting is heading towards a context post-figurative and informal.
It is the handwriting in the painting, the sign, the last refuge of reality, based on their structure, in its pictorial (in) formality, and will be present throughout the picture, because once discovered impose itself with metaphysical weight and must be understood in the context of the overall composition.
The painting «also wants to depict nothing else but this form of conjoining time and eternity.
It thus becomes mystery painting» but here means «it wants nothing but to be a duplication of what takes place» from the reality. (in FCG, Centre of Modern Art José de Azeredo Perdigão; Kunstverein Kunstmuseum St. Gallen, 2001. Ferdinand Gehr), p.32).
The painting involves us and tells a figurative and pictorial world beyond appearances with a spiritual and sensual language.
Objectives
The central objective of this study is to continue this perpetuum mobile related to the genesis of the whole creative vitalism.
Developing the cosmological sensitivity and apply it objectively, synthesize it from emotional experiences of real life.
As, indeed, the evocation of my drawings and post-figurative watercolours or those of strong character of landscape opening up a pictorial lyricism and the flickering glow of abstracionist portray of the Azores natural beauty.