The Art of Nelson Camacho is the result of his internal revolts. It is a reflection that seeks to generate outrage, a no to indifference. He is primarily an artist who uses new tools to express his view on the world, a society under the aegis of the fire, his last cry of rebellion.

In your exhibition "my fire" why you have decided to mix two concepts, the human body and manipulated image of a fire?
Nelson Camacho: I'm maybe going a further back. I got the first images of very poor quality when forest fires were ongoing in 2010. I was passing thru by car and filmed them using a mobile phone, out of curiosity to show my friends on the internet and never thought I'd use this raw material to give rise to a trip that was "my fire". In reality these are situations that occur in our lives and I feel a great sadness when such disasters occur in our homeland, for been so careless, or in a criminal way and due to abandonment. A year after as I stir thru in my files (I save them in the computer) I review these images again and I start thinking I should do a work, I did not know if it was to exhibit, or if it was for whoever, I did not know also where to start, but I tried to do something new. I was tired of running video art work, I have other features, other possibilities that I liked to explore. As I teach, for 22 years, in the area of ​​image and multimedia I possess panoply of tools I can use, including digital painting, was something that inspired me a lot of interest and then decided to embark on something static. Initially I felt that the image quality was not good, but I did not give up, I consider myself a creative person. So I thought I should first find a meaning for this work and then move on to something digitally manipulated. So what I started doing? A poem from the video images taken with my phone. This writing after been debugged with some quality from my point of view, created a text that I liked and that gave meaning to the video images. Then I had the need to build "my fire," my creative journey, but I needed another kind of matter and here comes the human body. It was the personification of fire and then move to the digital painting. I designed a video session with a model, I removed the frames that interest me, and I went to work them digitally. Not exactly photography. It is my cry of revolt.

It was then a long process as it took about a year.
NC: The process would not be long if the images had worked earlier. They were on file; saved.

It is a partnership that arouses upon the letter A of Paul Valéry conceived by the artists Antonio Barros and Antonio Dantas. It is the act of writing a book in a language and format that is different from the ordinary. It is the domain of visualism with different characteristics. It is an understanding of writing in its deep activity and visualism. The space symbolizes a book, every article reveals the particularity of the identity that is Madeira and its main characteristics of resilience, the capacity to innovate and start over every time, after all the adversities that nature keeps formulating. It starts with the word: "In the beginning it will be sleeping, animal sound asleep. Warm and peaceful mysterious isolated mass, closed cabinet full of life carrying thru the day my story and my possibility. It ignores me and preserves me. You're my inexpressible permancy. Your treasure is my secret. Silence, my silence. Absence, my absence ...".

What are these "electrografias"?
António Barros: Only the works of António Datas are "electrografias", My articles afirm themselves thru the "obgestos", recent works, from 2010. It's about the tragedy that occurred in Madeira, tranlate in the texto of the text of the work "al(a)ma". The ties(inscribe in insulae) are an iconography I have explored along my route on the experimental poetry. I also have other elements of the garment, clothes and contributions that are worked into the lining of the person. Poetry affirmed through these communication elements.

The color is part of this vision?
AB: I work these two colors(white -some of allclors versus black absence of color) that I explore within a territorial identity. My work is basically just like Antonio Dantas, within the relationship between black and white.

Hence the "insula", why?
AB: It's an island, and in terms originating of its roman origin it translates into a popular life experiences. It's a compliment to my roots and a reflection of the places of experience that always end up there in the "insula", which is an island in the archipelago, Madeira is one of them. I live in Coimbra that eventually has the structure of an "insula"; it may be surrounded by sea, but can also be surrounded by land. It's a concept.

It is an inner process?
AB: The whole artistic narrative is an interior process regardless of narrative that explores.

Tó Mane is passionate about photography and the sea from a young age. An obsession that led to a successful career as a photographer of events connected to the surf, to the extent that his images were published in one of the most prestigious magazines of its kind worldwide, the "Surfing". Another of his passions is traveling and meeting different realities that he carries to these pictures in a book that he compiled and can be seen in an exhibition in Leça, until August 12th.

When you decide to take pictures of the sea, the surfers in a professional manner?
Tó Mane: I started surfing in 1988 and took photographs under the influence of my grandfather who had various types of cameras, taking pictures of the ocean has become something more serious when I published my first image of surfing in 1998 and continued thereafter.
You follow also the surf championships?
TM: Yes, I am invited to cover the championships, but it is also an area of ​​my work.
Do you take pictures under water?
TM: Yes, there are photographs that I do in the water, I wait an averaged of 3 hours for the right image, even in winter.
One of your images is part of contest of an international professional competition. TM: Yes, it is a global competition, is one of the biggest worldwide. The award can reach $ 50,000. It is an event open to all kinds of photography. I am in 3 rd place so for in individuals, hope people can vote. I am also showing my work in an exhibition. They are images of a book published this year. I have already presented other shows in 2010; the photos were in black and white, a total of six pictures only on the waves.
It is a book about surfing?
TM: No, it's a book called "travel" is about my travels and have selected several sites I visited and like it, whether ten minutes from home, or 5000 miles away. The wanderings, voyages that I did at a personal level. There are 19 photos that will also be on display.
Apart from the sea, there are other themes that you like to do?
TM: I like landscapes with long exposures, but also pictures of sports, which involve a lot of action. Surf is my life, my photography reflects this, is something I enjoy, with whom I live and practice. Currently I am dedicated to commercial photography, do a little of everything, because it is difficult to live alone of surf.

If you want to vote for the photo of Tó Mane, just go and register.
http://www.theworldopen.com/portfolio/t%C3%B3-man%C3%A9/6663#.T_idv88sCcw.facebook

http://br.blurb.com/my/book/detail/3021570

The contemporary jewelry of Paula Paour reflects her universe of affections, the mental images she stored in her memory and even the smells of life. They are design pieces that serve to be remembered.

How did the passion for jewelry begin?
Paula Paour: Since I was a little girl I always loved jewelry, the less common, most historic, as an expression of other times. I also liked the classic pieces of art, sculpture that I saw in museums and history books. Portuguese gold pieces and jewels in the family in one way or another touched me particularly. There was an aesthetic side and decorative but also symbolic and emotional, a kind of side of almost charm jewel that is more ornamental, and, moreover, with which people identify themselves as a more immediate object of beauty that makes us feel very beautiful. All these aspects interested me at the time, in the twelfth year, it was normal to go to the university, something I did years later. When trying to figure out what I wanted to do in my life, I eventually follow this route in jewelry and went to Ar.Co one of the best art schools in the country in terms of contemporary jewelry by their technical and creative dimension. There I found out something that was not quite sure what it was, but it has become a path of personal search, with influences from many sides, of all that surrounded me, now manifested in a jewel in a very proper and specify way that has to do with the scale, the relationship with the body, with its portability and even very close relationship with people.

In his collection there is a fusion of various materials. It is a dimension of your work that has appears since the beginning?
PP: I do not mix so many materials. There are stages in which I mix in more than others and there is none that I cannot work. All of them in one way or another is interesting and everything is concentrated in terms of what I want the piece to convey in its appearance, in its references, in the imagination that takes us to a different time, into a world environment that has the do with such materials. All of them are important and do not go that far just to experience, I like to feel that freedom of expression.

What then are the materials that you use all the time?
PP: The metals are always present. It has the uncanny ability to adapt to almost anything we want to do. Subject themselves to all, has great plasticity, using very simple technology we can do amazing pieces. With the latest materials such as plastics, there are technical limitations and requires very sophisticated instruments. The base metals are often, although we also need to master its technical side, the work skills that help us with the material. On the other hand I have an experimentalist side, which likes to use other materials, likes to explore this kind of notes, for example, use an acrylic piece, due to its color, its expression. There are ideas that develop from contact with that matter, sometimes even pieces of wood, ivory or antique pieces, debris that may be part of another object of another life, which can also be transformed into contemporary jewelry.

The creative process begins with the materials, or for ideas?
PP: From images, ideas. It is a set. It is a combination of mental slides that arise for a piece that is not defined yet, but they refer to me from a moment that struck me particularly, a trip, or a book I'm reading, the smell that life brings.

The work of Ana Mandillo meets three forms of expression: painting, music and narrative dimensional. An interpretation of these intimate experiences that she transposes to her canvas, to her sculptures and artistic installations. She wants to convey above all the lightness and beauty of the world thru her art. It is her way of live life, of being in communion with the universe.

The exhibition is an encounter with four musicians. How this partnership did began and why you chose the new technologies as a mean to an end?
Ana Mandillo: The challenge came from a French painter, thru the internet; he wanted me to paint some of the music pieces of Miguel Azguime. He knew my work and was also connected to the electro acoustic music. Thereafter it started the exchange with others.

When the other did join this project?
AM: They show up with Joaquim Pavao, songwriter and guitarist of Setubal who asked me to paint one and a half minute video for one hour movie. The feature film was black and white and about Aveiro's Avenue. I did the paintings for that minute and a half, however the video did not go ahead and Joaquim Pavao gave me the music, so that how the project began. After a painter of Quebec, Jacques Tremblay, asked me to paint his music, he sent me a CD, I chose a track and painted it. After ending the process, I sent some pictures to obtain a feedback, if he liked or not.

How does it work your creative process?
AM: I hear constantly in looping the same theme and it inspires me.

Even when you paint other things?
AM: I'm always listening to music. It depends on the days, honestly. I like very much Chopin.

The "confectionary of bags" and "cut furniture" is two completely different design concepts that emerge from the creative mind of Mariana Costa e Silva, from the Azores, who transforms in a very particular and efficient way the objects of our everyday lives.

When it appears that the "confectionary of bags"?
Mariana Costa e Silva: Appears in first thief alternatively fair. A friend invited me a month prior of the event, I had the idea of ​​carpet bags for a year and thought: this is it. In the workshop where I worked, had a sewing machine, I worked outside the office hours. I bought the carpet, which cost five Euros and at the time was rehearsing, sewing and sails went very well when I presented at the fair.

Why did you choose carpet as raw material?
MCS: The carpet has a body, the bag retains its shape, and moreover, the sheaths do not unravel and has an economic factor desirable, to date I have not found any material with such an affordable price.
I noticed that there are several bags in various colors and formats.
MCS: Yeah, always liked color, from the beginning there are very garish tones.

The collections themselves are associated with an idea, or standards?
MCS: I have free interpretations on a bag. In my training as a designer, I had a lot of exercises of how to transform three-dimensional planar forms, so that was an issue where I felt very at ease. Initially I started with very round shapes. Arose from ideas, or interpretations of bags that have existed, always as a model of its own, some of them are so unconventional that are difficult to introduce to a fabrication. Only recently the collections began to have themes, I felt this need. Last year was the garden and this year is the color, I'm designing bags with various colors, for example, have a bag with various tones and not just one. It is a theme that I am going to launch in September.

Who is the woman who buys your bags?
MCS: It's young people, fun.

She is a young artist who has a secure and continuously impression on the national artistic scene. Fatima Spinola explores in her works of art the concept of the indivisible, the less obvious. The provocation, the questioning and critical thinking are various aspects present in her art.

How do you define yourself as an artist? I notice that in your work you approach different artistic movements and different materials.
Fatima Spinola: I try to keep that line; there are several ways, several approaches in counterpoint to a single strand. I am usually a bit against it, because I feel in me since childhood many facets. I explored the music, theater and other areas. In the visual arts I also feel that urge to explore the various materials.

About the materials you employ, many of the objects are recycled.
FS: Yes, it comes from a need to escape and the fact of not having the financial capacity to implement many of the projects I image. So, in that way I can create some hypotheses that are viable and in the end are having an impact, but without great costs.

In your painting you refuse the obvious. What are you looking for?
FS: The painting causes me nerves. It is the most emotional of my work. It is an action. The knowing that I will expose myself. Therefore, I end up not painting often.

It's your preferred choice or not?
FS: I do not have a preferred option. I like to approach the installation, painting and drawing. But painting of these three styles causes me a greater disturbance. Painting is easy, in terms of technique, the problem is the content, sometimes comes out things I did not wanted to say, did not want to display.
Do you feel more vulnerable?
FS: Yes, it's more personal.

Marco Fagundes Vasconcelos likes to deconstruct codes of aesthetic beauty. Transforms the figure, transfigure it, but without tampering with its essence. Draw faces and bodies without filters as part of a hedonistic view, telling their stories through their facial expressions, their false posses. In this "steaks, drawings and Other Stories" the artist helped us rediscover Guida Scarllaty, making her flesh and at the same time immortal, as part of a museum to see in Fort St. James in Funchal.

In your work, you like to point out that you are always testing your limits. What are they?
Marco Vasconcelos Fagundes: Is far as I can explore through my own graphics. What is very difficult. We all have our limits and age, with the continuation of this work process, I think we'll always be asking myself: where are the limits? It is very strange to have goals and then there are limitations, of the media, time and space. Maybe I have no limits, obviously the result of an exhibition has its limitations, so there's an exhibition, although I do not cause any impact, because I think free the creative process. The limit is to tell myself when to stop. The limit is also knowing how to stop. Now I realize that I have to know when to stop, because the principal is to stop on time. There are drawing that if I continue to scratch, to paint, I end up not using, I do not tear it, because I never do, but I'm disappointed with myself because I create my own limits and then cannot answer that question to myself.

Another feature of your work is to be associated with the grotesque. It is a way to tell others that there are several types of beauty?
MFV: No. It's an aesthetic. There's nothing profound. I do not work as a therapy. For me art is an obsession, from creating new characters, giving to the ideas, other contexts, media and materials that I use. Exit the stereotype of the normal look that everyone is waiting to find. I like to massacre the faces and it has everything to do with aesthetics. These figures are much more genuine, has far more symbolism than a normal face in a magazine.
Speaking of exhibition, I realized that some figures are crossed out, blackened, they seem almost corpses.
VSM: It's a prototype. My works are all tests, records. Frame a piece of art is confusing for me. I think it's more commercial to be framed, have its own space and is a record of my work. Every artist wants to make his testimony, but that part of the dolls almost cadaverous figures, It is me creating a new Barbie, they are sexy, are disguised and who is more attentive realizes the body is almost of Guida Scarllaty. I removed the waist, hips and anatomically are very lush and are very present for it. I think it is funny that I used my DNA in the hair, I think is amusing. It is my identity card.

That is your hair?
MFV: Yes, it's mine. I cut it and keep it forever, to be used one day in my work. That's the idea. The dolls are slaughtered. Fossils almost, I could clothe them, but I wanted it to be the opposite of Barbie, removing the fabric, the brightness and so I used a pop element. I am interested in using the current materials of factories and shops. Many times we thought it only has one function, I like to apply them in other areas, and I start to recycle. The dolls are dressed, are covered, but there are parts of the body that are exposed and that interests me.

Ana and Maria Joao are a duo of creative who want to incorporate different types of approaches and material in the objects of our everyday lives. Their motto is "reuse, reduce, reapply, renew and recycle" furniture transforming them, retrieving them to gain a new life.

What led you to focus on the transformation of mobile?
Maria João Pinto: We already knew before starting this project. Also, we did the pieces of furniture in our houses. Many are decorated and made by us. Ana and I are without placement and join forces to enhance our capabilities and we remember it, things we already did both and wanted to put into practice.

I noticed a bet on furniture. What inspires you? You look the piece and already know what to change it or not?
Ana Santos Silva: We looked at the piece and see what that she's mean. Sometimes several ideas arise; we discuss them and decide together what will be most suitable for the furniture. Miró is a painter who Maria Joao likes and then she decided to put his drawings on the sideboard. I really like Pollock and put it on the chair and feet. It's just black and white, but I do appreciate those colors.
MJP: We are teachers and always researched much in the area of ​​art, also the two of us teaches artistic expression in school, took many ideas from magazines, online, and of colleagues. Before starting a project we launch ideas, many ideas.
ASS: Also we thought in the various materials.
MJP: We used also different techniques, we searched shops with craftsmen and we put everything together in a little mental and physical file (smaller!) And them when we try to adapt each piece to the picture that emerges. It is the result of a melting pot of ideas. We always start the pieces together.

How you find the furniture? There are people that bring it to the studio to be changed, or you go looking for antiques?
MJP: The two. Some furniture was wasted. Other people were tired of them and brought them to us do what we wanted with it.
ASS: We also made a kind of fundraising with our families, in our attics. (Laughs)
MJP: There are pieces of furniture that people bring to be changed, because they are tired of them and we also do it.

But, you customize taking in account the taste of the customer or there is also an exchange of ideas with them?
MJP: Those on display are to our liking. But if one wants to transform a piece they have at home, we change it according to the person's taste. If they let us we throw ideas until we reach a consensus.
ASS: We organized small meetings, because when people come to us with furniture, we pass on ideas for that piece and also for them to realize what they would like to see. Sometimes they want photographs of their children, or tell us a particular artist they like, or even bring the clipping from a magazine and we tried to adapt our and the customer's ideas.

The suricata design studio is the creative space where the two friends named Tiago generate versatile, practical, fun concepts and visually appealing objects for our daily life. They are like a family, upright in its essence, young and very dynamic.

How did it start suricata the design studio?
Tiago Cruz: The suricata emerged two years ago; we worked together at another company and already had this experience. We formed the studio to work on other areas of industrial design, since we were more connected to the car design area.

What is the primary idea behind your furniture?
TC: The basic idea behind the project was to create a seat at first practical while multifunctional. We value the shape and the material that we use.

Tiago Matos: Using the various functions that may enhance the subject.

The concept is to be as versatile as possible?
TM: No, it depends. In this particular case the stool was to create an object within that concept. In the "touch", for example, the idea is to produce a piece with plasticity, to try to pass through the concept of solid wood to flexibility in a continuous manner that there is always present in this material.

I noticed that this did not work the wood?
TM: Exactly. We think that the natural wood has so much potential and can add visual value to the object, so we opted to maintain its appearance.

TC: We only designed the pieces of furniture; they are built by "wewood" which makes the production of our design.