Monday, December 2, 2013
Thursday, November 28, 2013
Acrylic on canvas / Acrílico sobre tela, 16 x 16 cm
I prolongated the forms of the objects that I was painting (or drawing), and came up with this.
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Prolonguei as formas e as linhas do que estava a desenhar e acabou assim.
Algumas destas pinturas vão estar em exposição na Galeria Trindade, no Porto, a partir da próxima semana.
Tuesday, November 26, 2013
Monday, November 4, 2013
Thursday, October 31, 2013
I'm loving this new creative process of painting images at sight and, after finding enough interesting visual information, I construct an image and find new solutions for each problem (that's why I'm never able to repeat myself). This one was so cool to make, I really enjoyed the part when I had to make a connection between the musician and the girl's face.
Images with musicians are the best for someone like my who enjoys to deal with movement and lines.
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Estou a adorar o meu novo processo criativo de pintar imagens à vista livremente e, depois de encontrar informação visual interessante, construir algo baseado em encontrar soluções para cada problema que aparece (por isso não me consigo repetir e cada coisa que faço é uma surpresa para mim mesma).
Adorei criar a ligação entre a violinista e a cara da rapariga que parecia que nunca encaixava.
Wednesday, October 30, 2013
Acrylic on canvas / Acrílico sobre tela; 16 x 16 cm
Playing with colors.
I find this way of painting very good for training compositional skills.
(I know I keep changing the way I work and the colors I use but I can't seem to be able to follow any kind of creative process in a structured way, it always comes out different - and if I try to repeat the process it never comes out well)
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Esta forma de pintar é boa para treinar a composição. Ao mesmo tempo aparecem muitas coisas inesperadas que de outra forma seriam mais difíceis de aparecer e jogar com isso (Sei que estou sempre a mudar a forma de trabalhar e as cores que uso mas não sou capaz de seguir nenhum tipo de processo criativo de uma forma certa, simplesmente não consigo; e quando tento sai forçado e mau).
Friday, October 25, 2013
Drawings made at the 6th National Illustrators Meeting, in São João da Madeira, that took place last week.
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Desenhos feitos no 6º Encontro Nacional de Ilustração, realizado em São João da Madeira, que decorreu na semana passada.
Thursday, October 24, 2013
Ever since I was in college that I keep hearing that having talent is bad for the artist. However, if I look into art history, even within the 20th century (most of my favourite artworks belong to first half of the 20th century), I keep finding that the artists I like most are the ones with talent. I can't ignore it, it's there (even Francis Bacon was really talented, the way he understood form says it all).
The only difference is that they didn't care about their talent, they went beyond it and created amazing works of art.
So now I keep hearing about me having talent and that I should be just an illustrator. "That's the best job for you", I keep hearing - because you draw very well.
I always liked illustration and I will always do it but fine arts is my main passion.
Illustration is mostly based on a text or on an idea. It is mostly focused on communication (the viewer should get the basic idea visually), although there are types of illustration which are very subjective/abstract and which can go beyond the definition of illustration (which is why it is also an art form).
My way of thinking is very abstract. I find it harder to do illustration than fine arts because I work better when I start without any kind of plan nor structure.
So why can't I be suitable for a painter? Because I have talent or I use my recognizable skill as part of my work (well, I keep hearing that I have talent so for me it's normal to say this...)???
We went from having amazing artists like Picasso who could paint like a master as a child, to a definition of art which is unsuitable for talented individuals, because "the best artists are the ones with no talent" (I kept hearing this in college from my colleagues). I understood Danto, I studied conceptual art, but now everything in art history before that is meaningless?
So now I read this book "Art Instinct" by Dennis Dutton, who went beyond established theories of art, and wrote a general definition of art which can be applied in every culture.
This is possible because we are not blank slates nor an unique product of our culture. Inside everyone of us there are similarities in our cognition. Something which makes us all able to learn a language as a child, something which makes us all relate to each other. The maleability of our brain is not general, there are certain aspects that we cannot change and thus, neuroscientists and psychologists are currently writing about art and its relation to human nature and maybe, even helping us go beyond ideas that are just set in our culture (I'm also reading "Blank Slate" by Steven Pinker, that's why I'm sure of this, he's a psychology teacher in Harvard and we learn something new in every page he writes).
And skill (not just manual skill, but it can also be an unique vision of the world if one is a photographer like Sebastião Salgado for example) is valued in every culture and a part of art. However, as Dutton mentions the artist generally doesn't know exactly how the work will end, but the technician does indeed plan and don't leave as much space to chance as the artist does (this probably has certain levels, it's not black or white).
Skill, or developing a skill is also good because we then have more ways to express what we mean. It's how we use it (or consciously not) that makes the difference. And in all art history we see artists who understood human nature and emphasized certain aspects in the artworks they created. Picasso is a great example. If we study his work carefully, we see how he understood how our brain found intriguing when he mixed a hand with a part of the hair inside the same form while representing a female.
They used their skill and vision to do that and their works are still seen today because, even if they were done in a different time and culture, we can still be touched by them.
Human nature has not changed in the last century, and amazing discoveries are being made today that are proving that to us. And the only way to touch people in our own artwork beyond fashion, culture and time is by understanding our own nature as a species, skillfully or not.
(I'm sorry, I'm just tired of hearing about the "illustrative nature" of my fine arts work when I just start painting without any plan or ideia: there are absolutely no stories or anything in them, they are just compositions, like the name says. The only works I did with stories behind were illustrations I did for books of other authors.)
Monday, October 7, 2013
Acrylic ink on paper / Acrílico líquido sobre papel
These drawings are very hard to make. Hard because you need to have a lot of experience in drawing (I draw almost everyday) and a very good intuition to get it right (and most of them don't come out right); however, when you do it, you do it so quickly and in such a fluid manner that you can't even explain how you did it.
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Estes desenhos são muito difíceis de fazer mas ao mesmo tempo são tão intuitivos que no momento parecem fáceis porque saem muito rapidamente. É necessário uma grande experiência de desenho (eu desenho todos os dias e desde muito nova que desenho regularmente) e uma boa intuição. Normalmente os melhores são os que saem à primeira, quando tento repetir perdem quase sempre a força.
Friday, October 4, 2013
ARTE NO FEMININO Pintura – Escultura – Gravura – Serigrafia – Objectos Com as seguintes artistas: Catarina Garcia – Elsa Gonçalves – Graça Morais – Gina Martins – Isabel Sabino – Gwen Sepetosky – Juana Andueza – João Santos – Marta Ribeiro – Nadia Baggioli – Sónia Aniceto – Zeca Risques Pereira
Esta exposição está integrada no evento BAIRRO DAS ARTES 2013
De Terça a Sábado das 14 às 19 horas
Na Galeria Novo Século Rua de o Século 23 A B 1200-433 LISBOA
Tel. 21 3427712
Estacionamento: Calçado do Combro
Eléctrico: nº 28
A partir de 17 de Outubro em São João da Madeira, participo na exposição colectiva e na exposição paralela do evento 6º Encontro Nacional de Ilustração, com o tema OLIVA: