Daniel Teixeira shows what he feels through a form of expression ephemeral and that does not bother him, but banality does. It is part of the urban art movement that calls the city streets. Its walls and its wreckage. It is an artist who captures human figures in his paintings in stencil. Search thousands of faces, one that is more marked for life and captures every line of that face, because they tell a story. Theirs.

When you draw faces, I see an approximation to reality, hyper-realistic faces seem like photos, but they are mostly people with expressions of sadness, serious. Where do you look for these faces and how you choose? Do you take pictures and then draw? Are you looking for a shock to call the attention?
Eime: Perhaps the most recent paintings are close enough to the photograph that serves as a base, but I not like to call hyper-realism to what I do because it is not. What I am seeking are more detail from the image and photography, but always with an artistic expression on stencil technique, in other words, when I cut a stencil I like to make straight lines, which ends up not being a natural man. It is not easy to explain in words because I'm still being taken for the moment and I realize that in each new job. The term hyper-realism makes me uncomfortable because it was never my goal is still not, but what is certain is that the more layers and details one man has, the more it will approximate the real. I still want to counter those minds who think that the use of stencil painting technique is just easier to paint a picture and that yes, leave me "hyper" uncomfortable.
To create a new piece, I search for pictures on the net in several places and usually have a rule; a group of persons, the ones that draw more attention is the one I keep. I always think that if in rapid movement to look at that little picture it captured my attention, certainly when applied will result, on a paper or wall, on a larger scale.
A face without expression has no interest, there must be always something that will attract and hold the gaze for a few seconds, and with the faces of older people, especially with lots of wrinkles this is a strong starting point and a sad face is more intense than a smile, great as it is. This was one of my goals when I took up the stencil in 2008.

The art of Vanessa Teodoro is an explosion of color, is a provocation to look, is something refreshing, bold and full of strength that will not let anyone indifferent. Perhaps you've seen her work on the walls of the city Lisbon! She is a young illustrator who looks at the world around her and makes a great party!

I know you were born in South Africa but did you live there for some time and if that is the case in which city?
Vanessa Teodoro: Yes I still remember my origins, lived until I was nine years old in Cape Town.

Your country of origin influences your work, or not?
VT: I can say yes, especially now that I feel more "distant" and more homesick. Use references and inspire me in Africa is a way to keep it around.

The name super van where it came?
VT: As strange as it seems, was because of my site. I needed a different name, and fun "vanessateodoro.com" seemed to me too normal.

What are your artistic references and explains to me if some of these artists have influenced your career choice?
VT: BD, cartoons, I saw when I was a kid (and still see). I like to mix classic masters with current references. I do not know if I can say that I was influenced to pursue this career because I love to do more things, and that the illustration is currently occupying most of my time.

Karakuri means in Japanese mechanical dolls. A tradition of hundreds of years, which arises from the patient hands of the master Tamaya Shobe, who need nothing more than a string to function. An artistic legacy that prevails unchanged, there are already nine generations of the same family in the trade. An art that had its beginnings in the seventeenth century and which still remains very much alive in Japanese society.

The karakuri arises in what context in which Japanese culture? It was an art exclusively for emperors and nobility?
Tamaya Shobe: It started in 1600 AC, with the puppets walking automatically. Began, in the traditional Japanese theater and later for entertainment. The dolls with more complex mechanisms were much more expensive and therefore only accessible to the emperors, the nobility or wealthy merchants who had much chance of having a "robot" in their home and as entertainment in the tea rooms. For the public in general were more basic dolls, made with wires for festivals in which they were put on the floats.

The mechanisms appear since the beginning?
TS: There were simple mechanisms that have evolved and acquired a more complex as we see in the archer (pictured).

Being a craftsman of the ninth generation of the same family, do you still manages disciples to continue this tradition?
TS: I have two to three disciples to practice this tradition that does not belong to the family. Then there's three more in the family, cousins ​​and nephews. It doesn't have to be necessarily a family member. What is important is the artisan who is more competent to carry on this art. If the son or nephew does not meet the appropriate capabilities to create a karakuri, then the tradition is passed to the more able pupil in the art.

There is still much demand for these mechanical dolls in Japan today?
TS: Yes, there are people who buy it. There are cheaper versions of these dolls to the general public.

Rita Melo explores a dualistic world in art. It combines humor and irony to her pictures, painting characters that are somewhat antagonistic. Creating a world with large dimension, hers. Where everything is allowed and nothing is profane. A permanent duplicity that enables to play with the reality. The ultra (past) paintings that can be seen in the gallery Serpent, on the 5th of November.

Your work is somewhat irreverent. Has sense of humor, not to mention the large size of your paintings.
Rita Melo: Humor and irony are two concepts that I care much to explore in my work. This large canvas began in college, where I could explore the materials. Saw it as almost as a performance, though I cannot say that it is. It is an act to create spontaneously, freely and to vent especially in large formats. The impact creates a sense of being in something bigger and large, but due to the difficulty in transportation, I started working in smaller formats.

It is difficult to create on large scales? I remember that you also paint large murals.

RM: Not much. The painting has always been very present in my life, because my father is a painter; my sister is also a painter. In terms of techniques, painting with large canvas was never very difficult, maybe so, because as a child I was so involved in it.

Another area where you are present is in the theater. Tell me about a little girl of stone of the project.
RM: My job was as a book illustrator. The girl of rock was an interactive ballet with musical direction of Jorge Salgueiro, João Aguiar's argument which was produced by musical focus. It is a ballet for children that music is ever present and in parallel there is a book that I was asked to illustrate. The characters, the book's figures and the costumes were the same as those used in ballet. It was a very interesting project because it brought together artists from various fields, from dance, literature, music and illustration, so I really enjoyed this participation.

Another strand you explore is photography. Where this aspect fits in your artistic life?
RM: I had academic training in this area. Photography is very important for my paint work, because all the characters I paint are photographs taken by me. I'm always looking for people that interest me. Then I have to have a personal relationship with the individual who is photographed, because I need that requires expression and intimacy. I had to adapt and eventually is present in the painting. Then we also did some work shooting scene, a project of the Cast Palmela, which was a ramp for you, where I photographed the show.

She communicates through her hands. Dominates the clay. Carves dreamy looks, indifferent ones, laughter, smiles and sadness. Facial expressions that convey to the world her way of interpret her small universe. It is a discreet and artistic expression that unforgettable thrills the eye. The caller is not indifferent. These are the figures of sand of Patricia Sumares.

Your work for lonarte reminds me of Juan Muñoz's figures, although someone said that was a type of sand figure, how did this concept surfece ?
Patricia Sumares: It came from a work I am developing and not yet exposed in a rectangular format, also identical to this work, I filled out with these faces. Guilherme saw it and asked me to participate. From the dimensions of the canvas I did this installation.
You named that one of your areas of choice is to sculpture, working with clay.
PS: I have a degree in sculpture and clay work too, which is the most classic material for any sculptor. I like it, because it makes everything we want to do. I feel perfectly at ease. Those who know my work, which is already some, notices that I like to address the issue of the figures, faces and children.
It is also a very classical approach, the human figure.
PS: Yes, that's because I love people. Their expressions. I appreciate every gesture.
Do you take pictures of these faces?
PS: I take a few. Mainly, I like to keep them in my memory. I like to observe more than talk and maybe when I create these works, I am communicating with other material. Alias, art is a form of expression. Another of my passions is children. I like to reproduce a lot, that is my maternal side. We women, we cannot have nine or ten children, the art turns out to be such an extension. I do modeling in clay, them I create the mold which allows me to reproduce the same figure and do installations. In my work, I create my pieces instead of using collages, or objects. I do everything from scratch. In this work for lonarte, there are five different expressions, which I model suitable to the space.
The choice of clay is unusual.
PS: I like white because it is unusually and clear. It is not pure white as plaster, but allows mixing with other types of pottery and different colors. I like that tone, like champagne, it looks more artistic in my way of seeing thing and that has more to do with me.

http://patriciasumares.blogspot.com/

http://www.lonarte10.blogspot.com/

http://patriciasumares.com/

Miguel Palma is a conceptual artist. He possessed a vocabulary that reflects itself in his work. He develops artistic projects that require us to resize our vision of an idea. Installations which translate an empirical reasoning on an object. Videos that tell an alternative history engineered by the artist and sculpture that reconstruct a picture of everyday life.

One aspect that is always in your art is the technology, the more industrial side of the world, why did chose this line of work in everything you do?

Michael Palma: The visible part of a more technical structure is due to the fact that I have a fascination with construction and for what all is thought and designed.

But it's what's behind this same construction, reasoning, or is the subject itself, the materials that attract you?

MP: First, everything begins with the image. It is a work that starts at the installation. It's that way I initiate the challenge of building machines, cars and objects more or less functional. My passion for learning science that turns out not to exist, because it's all very empirical need. I work with people who know about it, and that help me in this direction. Lonarte's work is a technical representation of a very structured inverse landscape. Is vertical, not horizontal, we cannot see it very well, because that was what was supposed to be present it.

Why the port?

MP: It is the meeting place of the communication, before having a port, the ships moored in the bay. There were boats that transported people and goods to land. It was necessary to build a port for incoming and outgoing ships. In its genesis, the port is the first door to communication.

And the dark side?

MP: At night there is no movement in the ports. Even the ships that stop there have always someone sleeping on a boat. Or no? (Laughs) Then, the dark, has a connotation of the day and night, the clean and dirty. In this work I decided to approach the abstract idea of ​​building a tradicional naval port. All this work, although it may appear at first glance I would say that if I didn't know it, is the past and the present. There's this side of a relationship that Madeira has with sea.

"My husband Manuel de Brito and I were the founders of 111 Gallery, who is now 47 years old and so began to exhibit in 1964. We went to Paris to meet the artists. José Escada, Eduardo Luis, Gonzalo Duarte, Júlio Pomar, the Lourdes de Castro, Antonio Dacosta and many more. Therefore, all of them became friends. At that time there were no galleries, no museums, i.e., there was nothing and so we have begun this work to show those Portuguese artists." This is the testimony of one of the founders of one of the most influential gallery in our country, Arlete Maria Alves da Silva; we begin a journey through the evolution of a new artistic identity in Portugal told in the first person.

How did the adventure begin a gallery in the late 60?
Arlete Maria Alves da Silva: My husband was a young bookseller. There was a critic who was called Mario Rui Gonçalves who dedicated his life to art. He was very electric and so ended up meeting a whole generation of artists of the time. He organized exhibitions in the college room, and was a great friend of my husband. At the bookstore where Rui worked alongside the science university, there was a gathering where personalities appeared as Almada Negreiros, Luis Dourdil, Abel Manta, Carlos Botelho, just to name a few, that entire generation of older artists gathered there to talk. My husband's dream was always to have a gallery, back then, was not able to do so. When the college of literature and law was transferred to Campo Grande, my husband proposed to the bookstore owner to open another one in that area to support the young student, then as a partner he wanted to remake the social gathering which took place within the previous location.
In 1963, I was studying in the university, but been an independent girl started working part-time in this bookstore in Campo Grande. That same year started a great love story, ours and decided to embark on this adventure that was the gallery and the collection. We rented space annex, which was a shoemaker who had bankrupted, and this place became a small gallery and began to expose artists who were complete strangers. The first was Joaquim Bravo, the second Alvaro Lapa, and the third was Antonio Palolo, in 1964.

It is then that there is a gallery named 111?
MAAS: No. It was even called a school library publishing, because it was the branch of the headquarters and then became the bookstore gallery. Vespeira who was an artist drew a picture with 111, was the port number, to put it in a litter and after a while everybody knew it by Gallery 111. The times were very poor. We did not sell anything, not even had that idea that it would ever invest in art. Our country was very poor and with visits of the PIDE (political policy) all the time, much money was lost in seizures. For example, I remember having received one hundred books of the Peace of Aristophanes, which was being studied at the faculty of letters and because there was dove on the cover had to be seized. It was an image that was considered subversive and they took all the copies.

Why a dove was considered subversive?

MAAS: Because of Picasso and his doves, symbolizing peace. Now imagine the financial of all 100 books gone. We received also reproductions from the Netherlands, some of these impressions were the painting Guernica they rarely reached our hands, grasp all by the PIDE in the mail. It was a time of horror the Salazarism.

After April 25 there have been improvements?
MAAS: We have to backtrack a little in time, when the Salazar fell off this chair is the moment when everything begins to change, with Marcelo Caetano there was a slowdown, the PIDE continued to be present, but they were not so fierce and oddly enough, there was a great economic openness. There was a man was key essential for us, it was Jorge Brito. A banker in love with art was a compulsive collector. Had the same age as my husband, and the same last name from the beginning they had a connection. He especially liked to collect Vieira da Silva and we ran all over the world to buy paintings for him. Paintings were expensive and from what we earn from the commissions that we helped artists with financial difficulties, they were hash times. We started by buying them the works and give them a monthly fee to have a more stable life. At this time, we opened up our world. We have a small gallery in Campo Grande we started to go to New York and London and we professionalized ourselves. Taking advantage of this boom, we moved from the 111 to the number 113 that was bigger and the gallery was opened exactly the day Salazar died.

It one of the compelling names in the context of experimental poetry and performing arts in Portugal. It was also a founder of the circle of art in Coimbra, where he lives, but his concern does not fade in the artistic reflection and discussion. He is an author, a creative element of visual language that reflects a new consciousness of narratives. A performer who inhabits the realities of everyday life, transcending its own identity, emerging as works of art.

What do you want to portray in this work?
Antonio Barros: I present two moments of an exhibition held in Coimbra, which is called Obgestos. They are part of a project that I developed in the performing arts and was part of a show in the boiler manor was part of the assets of that work. It is a constellation of objects-of-memory, that is an integral part of different Artitude, scenic formulations of perfomative residence, referring to the' arts of behavior and operatic gestures'. I present the formal and semantic attributes generated on a temporal arc of about thirty years between 1979 and 2010.
Is a state of art were these gestures asserted individually or in programs with group dynamics targeted on a school of actors.
The pieces just take in the show; assume the zeal of amnesic condition. Museum. The posthumous acquired the transitive object that inhabited different performativities. Testimonies are collected in real-time actions and other experienced that mark the purpose of operatic projects, thus articulating the related ,an analysis directed at elected elements here: the objects. These, then reveal themselves as symbolic elements of the multiple gestures experienced in the ceremonial.Those in the equation of performing arts' have emancipated themselves in objects / gestures, earns the condition of identity work. The result obgectos is a constellation of factors contributing to the study of a communication path statement of reason and condition of authorship, artorall.

What inspired you?
AB: They are objects that are collected in the social context where people move, are revisited and crafted to a new understanding and new semantics awareness.
My work is part of a more general context of what we define as the Portuguese experimental poetry that explores objects, others and the word. I explore a text in various media of everyday use, which people have in their situationist condition. In an analysis of the behavior of the citizen in society and examines their various behavioral realities.

This analysis is done from the point of view or the other is just a personal interpretation of these elements?
AB: One author is an element that creates new situations; we found transfigurations to communicate with each other and to develop new awareness. There is an activity taken in from the other, but a communication with the individual. My work does not end with this territory for exploration. There are other areas.

What are these areas?
AB: My creative and artistic activities are strictly differentiated territories. In the context of artistic activity develop living spaces, scenic and commitment, where those who dwell in that context explores new consciousness narratives. These spaces, which are in some circumstances experienced by the inhabitants in the field of theater, dance and performing arts. I also work the arts of sculpture and installation behavior. The object as engaging and as a place of relationship and experience. Creative work in the field of communication design.

http://barrosantonio.wordpress.com/about/conversa-tania-saraiva-e-antonio-barros/

Santa Clara Isabel prefers to deconstruct the universe around us, instead of showing the obvious. A dynamic that runs through her work and seeks a reflection from the viewer, his most critical insight. A concept of art that she shares with their students and a concern that extends to all artistic projects in which she participates.

What sought to address in this piece?
Isabel Santa Clara: As it was for this specific space of Calheta felt like work in the surrounding landscape, what can be walked from here to see it. The canvas is also a very unusual shape and so I felt like recall and use this ratio to evoke a slender ladder and the terraces at the bottom of our rugged landscape. So I worked from this zone, the pebbles and sand of the houses going up, up the mountain to the sky. Not intended to represent a landscape, but to make an evocation of that route.

The color addresses this concern the mountain and the sea?
ISC: If you notice there is a ladder drawn in blue is the same as those made by hand, connecting spaces deputies. I used this idea, but also used blue to dematerialize, because it draws its materiality. The letters are a kind of stamp evokes the basalts of the island. Our rock is very gray. What I wanted to address was the contrast between the stone and the beauty of the sea. Printing stole a little color on canvas, it became more blurred.

Speaking of your work, the places you wander influence it?
ISC: We are always marked by the places where we grew up and where. They are with us, mark our memory. I think in some paintings I did that turns out to reflect. The boundary between land and sea and others that also has to do with our landscape.

So what inspires you?
ISC: I usually work our relationship with space. The way runs through them, feel them and I participated in the exhibitions seek to work precisely the spaces, put the pieces in a dialogue in the area of ​​the house, which is an idea that sought to develop. The interior spaces. It is this aspect of where and how we look at things.

Luis Amin develops a work that focuses on the deconstruction of the art tile. It equates it to a logical manifestation of art. Transcends its more traditional way to turn in a more abstract but no less Portuguese in its essence.

What you sought to address?
Louis Amin: Getting my work I have been developing for more than twenty years, wanted to pay tribute to people I knew from childhood that marked me for life and had a reflection in terms of art. It is this peace of mind. This way of being in life. It's about people that was where I lived in the Faja da Ovelha and Ponta do Pargo. This piece is more directed to those people were I lived.

It means that the island influences his work?
LA: Yes, somewhat. In personal terms, and the human I am today. The simplicity that is not what it seems, everything has the complexity of life. This translation of simplicity in which these people have contributed. Hence my honor. And throughout the life cycle that involves the field. The culture that surrounds them for centuries that applied at the time. From sowing to harvest. Everything was cyclical and was part of life. This struck me a lot and causes me an emotional balance. It's something more transcendent that culture, something more gothic, as was this artistic movement of the middle ages. Like stained glass that reflects that life. The blue of the mountain and the sea. Then the sun is yellow and black power which is a development of life. It's all very symbolic.

As an artist are you influence by the island the rest of your work?
LA: I do not know people can have that opinion. Simply, I work in a Portuguese culture. Develop the work of the tile. The idea of ​​the concept as an object, such as traditional. I think of the logic that it brings those lines and abstraction. From there with letters construct, deconstruct and reassemble. Create a unique language that has much to do with the Portuguese culture and its Arabic influences. My painting is very focused on this point.

What do you want then?
LA: The logic of the object which is tile. When you look at his picture, this realistic drawing and abstraction. In Lisbon, where I live, the buildings are filled with houses, homes covered with tile. And it all came from the eighteenth century to the present day. All of this goes unnoticed by people, but it is very Portuguese.

Did you a lot of research when addressing these issues?
LA: Yeah, I and a great friend, Antonio Aragon, walk a lot, day after day by the city of Lisbon. He described to me the story of all those parts, because he was an individual of great culture. He was an information base to the historic level and using that legacy he left me to develop my work.