A Look at the Portuguese World



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Chromatic survey

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It is the field of work of the young artist Miguel Ângelo Martins. It is a paint study without painting on canvas, confused? Go see and try to understand until the 4th of October in the gallery of Prazeres.

You decided to make an exhibition after a fieldwork on Prazeres.
Miguel Ângelo Martins: Yes, I was about a month, had already been here in Prazeres last year because I accompanied an artist and then I started thinking about this space and the people. As my work is allied to painting I thought I could link this art to the application of the color on the walls of the houses and follow that line. I began this study photographing the houses that seemed most evident in terms of color and then began to catalog them and went to the ground to make a mixture in sitium.

You have been cataloging the colors in their space?
MAM: Not cataloged, went to the house and took with me the primary colors and locally made mixing and applied directly, was thru the insistence to get the tone of the walls of their room.

You present also topographic maps, why you had this care to present the real estate in its corresponding location?
MAM: Because it seemed interesting to me to have that color saved as a testimony for the future in order to know what colors are used on the walls. It's a bit how to recover the heritage of Pleasures. The houses in this area are in decline and there were many of the walls that already had lost their color with time, so I could recover that memory.

You also said that this chromatic survey is tangled with the work that you have been developing over the color.
MAM: Not about color, but about the painting. The relationship with the canvas and the parts that are used in their design, such as the screen and the dressing. What I do is think about the painting and not use it as a means to create something, or represent it in depth in the two-dimensional support, but I give importance to painting, is not just a picture, or a surface is also a binder and a pigment is with this liquid side that I try to create dialogues.

A deconstruction is that?
MAM: Yes it can be a deconstruction of the painting, I use to create other languages and contexts within that theme.

Why here in Prazeres?
MAM: I was much envolve with the population. This is a project that unites these two parts of my painting and another one, which is the area and tried to combine these two aspects.

So how do you do this junction with the heritage and ethnography?
MAM: In many of these houses had to go to the site, explained what I was doing and the kind owner let me come in and almost make a performance to mix the colors and they much admired and asked why I was doing it and I explained it was very important because the shades were getting lost, so I decided to recover those colors that were losing.

What withhold this field work and this exhibition as an artist? In terms of reflection to your own path as an artist?
MAM: Above all the experience, it was a very intense month. I take a lot, but I can not explain it.

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