Terra Cinza (Ashen Land) resulted from visits to the Caldeirão hill range in southern Portugal during devastating fires. The results of these fires served as the motivation and the urgency of Terra Cinza . The ancestral relationships and livelihoods of the local populations with their environment and ecology radically changes, radically disappears, in a matter of hours. The Ashen land scape and ecosystem that result from this “inferno” made clear the need to produce work dominated by little or faded colour, by grey and black. This charred ecology, this ashen(ed) land, with its livelihood sustainability radically questioned, is dominated by brand new shining wind generators, a XXI century icon.
In Arcades (Passagens, original tittle in pt) the temporal references are eliminated and the architecture is brought closer to its essence through the use of de-focus within the b&w tradition. This synthesis movement is the approach used for the Chiado zone, the “stage” where photographer Joshua Benoliel (1873-1932) photographs and constructs an extraordinary document about this area of Lisbon and its transition into modernity; pertinent questions are raised for the continuation of the Arcades project.
Photon corrosion is work that takes the photographic self portrait towards a recognition frontier. In Photon corrosion the subject – the photographer – is rendered simplified, synthesised, to a point nearing un-recognisability, or perhaps nearing a simplification that can only be virtual. The questions raised become particularly incisive when the spectator is informed that the proof of this corrosive lighting is established, is cased, is situated, within the boundaries of conventional portrait photography. Where are we? Approaching a dual nature, also of the photon , the elementary particle considered simultaneously a particle and a wave.
In Form, formless, a work constructed in parallel with that of Bruno Lopes for an exhibition (Forma, informe) at Arte Contempo, in Lisbon. The different and autonomous approaches – form and formless – were presented in the same time and space. If form serves as a basis for recognition and establishing a hierarchy in the visual world, the formless, as a process functions to subvert that exact organization.
The studio served as starting point for this disorganization process of the object, the human body. The human form, de-figured, un-rational, animal-like, horizontal, or, in brief, formless.
Alqueva – changing scape (translation from the Portuguese tittle Alqueva – paisagem que muda, povo que espera) is long term documental project .This work accompanied the last years before the conclusion of the Alqueva Dam structure and its effects on the local landscape and people. These include the submersion and relocation of a local village and the cutting down of millions of trees in the process of clearing the dam reservoir basin.
The Fiera di Sinigaglia (Sinigaglia Fair) in Milan was the base for this work. This milanese flea market takes place every Saturday, and served as a vital exchange location during difficult times as was the case after the II World War. Today it is a cosmopolitan place where people meet and search for yesterday’s objects.