This periphery had no influence, since they are outside the urban centers where the artistic movements occur?
RP: I think not, we always had work. We have been growing in new clients and new work. I cannot tell if you if we were in Lisbon would we have more projects, because the location is insignificant today, I can tell you that my best client is Danish. When we work with a foreign artist we might as well be in Badajoz that makes no difference. My greatest works of sculpture are in this location, one of the sculptors who give me more work is from the Algarve. What counts is our way of living and working, not the location.
The art internships is another area of the hand of fire, how does that happen?
RP: It arise because some sculptors express interest in being themselves producing the piece, get their hands dirty, because the bronze is an expensive material, we have to recognize that, without relying on hand labor. So in conversation with the artists, we come up with the idea of instead of selling the finished work, the sculptor knows sometimes do a carving, or a silicone mold that are a few steps of casting, so why artists instead of having the final product, why not with our help and using our tools to create and finished piece in bronze much cheaper?
What a piece of art that brought more challenges your team?
RP: A piece that brought more challenges is very difficult to name, contrary to what one might think the larger pieces are not that hard, although has more logistics, many personal, many raw materials and a crane. I remember a piece of Pedro Vasconcelos in stainless steel, with normal background, who had enough technical challenges, indeed it was because of it that we began the relationship with the alpha art, arranging the resin into the mold of silicone, the right foundry, it was a piece of about 70 cm. Another was a work of Sergio Taborda, a little step-books with a blank, make the piece was not difficult, but to make that blank part then clung to touch to the rest that was already complicated, you could paint the piece with a paint normal spray, but no, it had to be a white chemical. I do not have a particular piece, but the smallest have more work and concerns.
You completed ten years of existence, what is the result?
RP: The result is good, I hope to continue in this area for over ten years. I am not sorry, I have great articles, made many friends and many people who work with me are satisfied. Crises come and go and we'll be here.
In a country where no one appreciates the arts, you deal with artists and you are in artistic are is it difficult?
RP: It's not easy, but our structure is smaller, it makes everything easier. I have the notion that the alpha art project, which is bigger for them everything is much more difficult. In fact we do not value the arts, I am so sorry for that, but this is the country that we have. Are often the cultural agents who have to value themselves.
