The work of Jose Pinho reflects a conceptualization of two binomials, man and the environment in which it inserts. Human kind and the planet. A creative language that combines the concept in various levels of perception, in its various dimensions and shapes.
You live on this island for some time now. This aspect has an influence on your work?
Jose Pinho: Not necessarily. My conceptual process is not much about the island. This usually associated with urban life, than to a specific area.
Do you have preference for ceramics; "Antipodes" is an example.
JP: When I think of the world, try to do it in general terms. This work had an ethereal sense. The fact that the faces seem to be thick and seem floating had to do with the concept of a totem of the Indians who had been dismembered. This was the starting point; the arrival is the work itself. I never limit myself to one object.
Then, you start first by the concept and then you create the object?
JP: Exactly. The process of creation and production has a say in developing the concept. I define the beginning, but I don't completely define the end. There are things you are doing that suggest other solutions that are much better from those that arise from the start in your head.
What inspires you when approach a concept?
JP: One of the concepts that always inspires me the most is the relationship between man and his environment. The relationship with space and distance that man has with the planet. When the theme is urban, I refer to certain impersonality, the fact that we isolate ourselves in the web of the city at heart we live together and everyone is very alone. It is this relationship that has always influenced my starting point. It's a thought for whatever I do. I'm never completely stuck to a time.
I noticed that you move through the various types of artistic media. Turns out to be a random choice?
JP: It is not random. Usually depends on the concept and circumstance. The place where it goes. I have an ideal support, my training is sculpture, but nowadays this art concept left much of the academic field as it did in the past. You can be easily created an installation, do a painting, drawing and photography. I try to use the maximum resources at my disposal. Always try to exploit them.
In this exhibition how did you develop the concept utilities?
JP: For this exhibition there was a requirement the usefulness of this work and that defined it in terms of its three-dimensionality. I am currently working hard in 3D. I try to address the interior and exterior of a sculpture. Transparency is always present in my work, has to do with the various layers of observation. The various levels, those you see first and what visualizes when you get closer. What's behind that. Man's relationship with its environment and the various dimensions of perception. I do not like being tied to a single concept.
That is, when someone looks at your work, you do not hope people associated to Jose Pinho?
JP: I think it comes naturally. There are many people who came to this exhibition and said that the piece had much to do with me, because I know some things. It is the result of the creative process. It is not a goal of mine, it may happen afterwards. You always have a way of drawing, you have a way to represent and that will eventually be reflected in things you do, even if it is a sculpture in clay and then a drawing. There are things that are yours, gestures that will repeat.
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