
ADIVAR SOKAK
2019
In the end of the summer I moved to a new house. My bedroom was an old living room that had been remodeled. There as a table, some sofas, a wardrobe, a bed and two chandeleers. I enjoyed the big windows that crossed one of the walls the most. These were accompanied by white lace curtains that did not let anyone peek in but would not hinder the sun of inviting himself into my space. He would appear everyday and I would always let him in. He would come and proclaim every one of my possessions as his. The drapes tried to interfere in this invasion but never with much success. Of this confrontation would result a game of light and shadow that would extend all throughout the room, over the walls, the floor, the sheets, the mug on the table… And I’d experience it quietly, delighted.
My admiration for the intervention of these two elements over everything that is material grew to an extent that one day I held two nails in one hand and a rope on the other, determined to set up a clothesline in the middle of the room. So I did. There I hung fabrics, papers, garbage bags and even carpets, all to study the effects of the light in every single material.
This instalation fuses organically and uneffortlessly the artistic practice to the everydaylife and the domestic environment.
Paperfolds
2020
This series of small sized drawings exists in the dialogue between textiles and drawing.
The method I used to dye the paper is inspired in the japanese technique Shibori of dyeing textiles.
Through this practice I was able to shed light on properties of the paper that are usually overlooked.
Paperfolds
2020
This series of small sized drawings exists in the dialogue between textiles and drawing.
The method I used to dye the paper is inspired in the japanese technique Shibori of dyeing textiles.
Through this practice I was able to shed light on properties of the paper that are usually overlooked.

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