The title of this exhibition is “Do Sul” (“From the South”). How the South is present in your life and how inspires you?
From the South evokes a universe of meanings that go beyond geographical coordinates. It's an invitation to explore the encounter between the gaze, personal experiences and the representation of the natural. Stones, places and roots are represented not only in their form and aesthetics, but also with metaphors and symbolism. Stones as symbols of permanence and stability, they are the silent guardians of the coast; places as icons of transience and adaptation, they are the mutation and ephemerality of time. Together, they tell the dynamic and continuous story of the days that changes not only the landscape, but also a personal trajectory through time.
I live and work in the Algarve, Portugal's southernmost territory, and the geographical connection has been close for 20 years.
The idea of memory is a concept that tells us a lot, and it's also present in your pieces. Personal, collective or cultural memories?
Memory is the most interesting record for creating an identity. In an artistic practice I'm interested not only in my own personal memories, but also in collective and cultural memories. My work is the extension of all individual experiences, of visual records, it's the representation of sensations, of what I experience in a tangible way, often applying materials, raw materials and objects that have a history of their own.
The contemporaneity of the shapes appears in your pieces, almost in opposition to the craft techniques used. Would you like to talk about that?
Yes, the contemporaneity of forms is something I'm interested in exploring within the context of the traditional techniques I use. I see it not as an opposition, but as a dialogue between past and present. I look for ancestral basketry and weaving techniques and bring them into the studio where the creation of sculptures links form-function and aesthetics harmoniously so that the piece works fully in a given environment and has a long life.
In this exhibition it's quite clear that, on the one hand, there is technical continuity in your pieces. On the other hand, there is a research and desire to create forms and pieces that are very different from each other. What is this creative process like?
Clearly! My creative process involves looking for new forms of expression within the techniques I have mastered. Although there is technical continuity, I have the curiosity and drive to discover new textile materials, new aesthetic approaches and other solutions for structuring my pieces. If there is no formula, there is a detail that triggers a challenge... in the end the result is unique and the sculptures appear with the fingerprint of my identity through my personal aesthetic and the techniques I choose at that place and time.
Your work mainly combines two techniques which, although they have a common principle, are quite different: basketry and textiles weaving. How did this union come about?
The fusion between basketry and textiles arose from my desire to explore different means of expression within the world of handicrafts. Both techniques have deep roots in local cultures and offer unique possibilities for creation. Basketry allows three-dimensional structures to be worked with natural materials, while textile fibers are explored to create textures and colors, for example.
In what ways do you see the growing revival of ancestral materials, techniques and know-how?
I see it as a very positive and inspiring movement. As people seek a deeper connection with the past and with sustainable practices, there is a renewed interest in natural materials and more traditional techniques. This not only preserves a valuable cultural heritage, but also opens up new creative possibilities and promotes more conscious and sustainable consumption.
What has this artistic journey been like? And what do you consider to be the key moments so far?
This artistic journey has been a journey with many moments of continuous discovery and learning.
Alongside the proposals to create specific and unique works for a given space, I would highlight the recognition by my peers, being recognized by Homo Faber(Michelangelo Foundation For Creativity & Craftsmanship) as a master artist and having taken part in the Révélations International Biennial, Paris, 2023, are constant high points in my journey that leave me surprised and very happy.
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