My multidisciplinary practice reflects upon the dialogue between contrasting forces through textiles, drawing, painting, installation, performance and video. It relates to the coexistance of antagonistic concepts  both in our inner and outer worlds, as well as in-between these.

 

   In the unconcerned, intuitive, mechanical and repetitive representation of geometry I have found a way of being active without dictating the nuances and the flow of the ending result, thus focusing on the action of art making and drawing a parallel to Kierkegaard’s inward patience. This approach allows me not only to shed light on the nature of the “error”, its liveness and importance when embeded in an ordered structure but also to take advantage of the sensory deprivation effect: revealling an image with so little happening that the eye can’t help but to be attracted to even the smallest nuances and imperfections. 

 

   Textiles and drawing are the disciplines I tend to orbit towards the most: both start from the same premisse, the line and the web, which are very much tied to mechanical and repetitive motions. 

   This past year I have grown more interested in branching into technological mediums such as projection and digital manipulation of video and photography upon recognizing some links between the ever evolving digital aesthetics and my work’s subject matter, as I “rediscovered” the line and web in the pixels of screens and the repetition and sensory deprivation effect in the glitch and in the moiré.

My multidisciplinary practice reflects upon the dialogue between contrasting forces through textiles, drawing, painting, installation, performance and video. It relates to the coexistance of antagonistic concepts  both in our inner and outer worlds, as well as in-between these.

 

   In the unconcerned, intuitive, mechanical and repetitive representation of geometry I have found a way of being active without dictating the nuances and the flow of the ending result, thus focusing on the action of art making and drawing a parallel to Kierkegaard’s inward patience. This approach allows me not only to shed light on the nature of the “error”, its liveness and importance when embeded in an ordered structure but also to take advantage of the sensory deprivation effect: revealling an image with so little happening that the eye can’t help but to be attracted to even the smallest nuances and imperfections. 

 

   Textiles and drawing are the disciplines I tend to orbit towards the most: both start from the same premisse, the line and the web, which are very much tied to mechanical and repetitive motions. 

   This past year I have grown more interested in branching into technological mediums such as projection and digital manipulation of video and photography upon recognizing some links between the ever evolving digital aesthetics and my work’s subject matter, as I “rediscovered” the line and web in the pixels of screens and the repetition and sensory deprivation effect in the glitch and in the moiré.

CURRICULUM VITAE

 

 

Education

Master of Arts and Design: Textile Design

(2O22- )

Swedish School of Textiles, University of Borås

Borås, Sweden

 
BA in Fine Arts Painting

(2O16-2O2O)

FBAUP (Faculdade de Belas Artes 

Universidade do Porto)

Porto, Portugal

Painting

(2O19)

Marmara University

Istanbul, Turkey

Fine Arts

(2O15-2O16)

Kingston University

London, UK

 

Specialization in Textiles (level 4QEQ)

(2O12-2O15)

Escola Secundária Artística António Arroio

Lisbon, Portugal

 

 

 

 

Exhibitions

 

Excursão Catedrática à Neblina Rosa

(2O21)

Galeria Painel

Porto, Portugal

Contextile Bienale 2O2O

 (2O2O)

Guimarães, Portugal

 

Da Sombra

 (2O2O)

in Centro Cultural de Ermesinde

Ermesinde, Portugal

 

Projeções 2O19 

 (2O19)

in Fundação Júlio Resende

Gondomar, Portugal 

 

Fling

 (2O16)

in Triptych Gallery

London, UK

 

Pano para Mangas

(2O15)

in Museu das Artes de Sintra

Sintra, Portugal

Contextile Bienale 2O14

 (2O14)

Guimarães, Portugal

Creative Studio Internship

(2O21- jan 2O22)

Melisa Minca upcycled clothing brand

Berlin, Germany

 

Artist residency

(2O21)

Cortex Frontal Residências e Oficinas

Arraiolos, Portugal

Artist residency

(2O21)

Kulturbanhof (KuBa)

Klein Warnow, Germany

 

Costume design

(2O21)

Natacha Martins performance x SBS in Confessionário, Galeria Ocupa

Porto, Portugal

Costume design

(2O21)

RIVA music video x SBS 

Assistant internship

(2O21)

artist Kathrin Bauer

Berlin, Germany

Research internship

(2O21)

Organization for the Democratization of the Arts (ODBK)

Berlin, Germany

Artist and designer

(2O2O)

Seriedade e Bom Senso colectivo

Professional Experience