Category: Drawings and Collages

Ténica / medium: serigrafia, papel químico, tinta-da-china e colagem s/ papel /screen printing, carbon paper, Indian ink and collage on paper (11 elementos / elements), 64 x 86 cm (9 elementos / elements); 85,7 x 64 cm (4 elementos / elements)

The day is coming parte do espaço temporal nocturno, que para uns constitui um momento de descanso e para outros o seu período de vivência. O nascer do dia torna patente a discordância temporal existente em lugares onde coabitam realidades diferentes, o ponto em que se cruzam aqueles que começam o seu dia e os outros para quem a noite se estende num dilatar de horas e limites do calendário. Em comum, estas duas realidades partilham apenas um tempo de incerteza. São apresentados uma série de desenhos a tinta-da-china e frottage, de traço gestual rápido e sintetozado, sem cor, todos a negro criando um testemunho dos tempos de mudança e fragilidade que atravessamos (presente e futuro), qual é o ponto de entrar no campo entre o figurativo e abstração.

The day is coming is part of the nocturnal temporal space, which for some constitutes a moment of rest and for others their period of experience. The dawn of day makes clear the temporal discordance that exists in places where different realities cohabit, the point at which those who begin their day cross paths and others for whom the night extends into a dilation of hours and calendar limits. In common, these two realities share only a time of uncertainty. A series of ink and frottage drawings are presented, with quick and synthetic gestural lines, without color, all in black, creating a testimony to the times of change and fragility that we are going through (present and future), which is the point of enter the field between figurative and abstraction.

Apesar de tudo, nunca estive tão bem [Despite it All, I ever Fet So Good]

Fotografia, tinta-da-china, esferográfica, decalque, café, colagem sobre papel (12 elementos) / Photograph, Indian ink, ball pen, stencil, coffee, collage on paper (12 elements)

“bordas de alguidar,” referring to what’s left over on the sides of a cooking bowl, which the rich don’t bother eating but the poor can’t afford to turn down. It’s a little like the English expression “the bottom of the barrel.” Making a direct reference to the country’s calamitous economic situation. Filipe recovers the work of Rafael Bordalo Pinheiro—a satirical journalist and artist who founded three newspapers in the late-nineteenth century and who created the figure of Zé Povinho, a cartoon figure that was to become the symbol of the Portuguese people.

Artforum