Nakagin
Drawings on metalPart of the “TOTEM” solo show
EVERANDART gallery
November 2024
Meguro, Tokyo
Hand drawn directly with acrylic ink on the metal surface, these stacked sequences of buildings reflect on the quintessential urban typology of the contemporary city.
The skyscraper.
Artwork available trough Embedded Blue Inc .
Please reach out for more information.
Request Artworks Catalogue︎︎︎
The skyscraper.
Artwork available trough Embedded Blue Inc .
Please reach out for more information.
Request Artworks Catalogue︎︎︎
Nakagin, 2024
Ink and graphite on brass
120 x 25 cm
Ink and graphite on brass
120 x 25 cm
This piece is a homage to the recently demolished Nakagin Tower designed by the architect Kisho Kurokawa.
Artwork available trough Embedded Blue Inc . Tokyo, Japan
Please reach out for more information.
Request Artworks Catalogue︎︎︎
Remember Lisboa
Drawings on paperDeparting from the Lisbon urbanscape, a Rorschach-like shape composed by hand drawn fragments of the facades forms the diptyc.
This work was made as a commission for a private collector.
This work was made as a commission for a private collector.
Remember Lisboa I & II, 2020
Ink and watercolor on 300gr/m2 paper
70 x 70 cm (each)
Ink and watercolor on 300gr/m2 paper
70 x 70 cm (each)
Private collection
The collector wanted an artwork that felt as one but made of two parts.
Each piece should then stand as his own because they would be placed in separated locations miles apart.
It also features more than 30 specific references from Lisboa.
Preliminary Sketechs
Working in progress
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Details
Archaeo II
Drawings on stoneA reverse archeological artefact with different layers of ink, collage with found material, charcoal and spray paint on broken stone slabs, enables multiple possible narratives and speaks of a larger artwork that remains incomplete.
This work was part of a solo show at Port B gallery in Paris.
This work was part of a solo show at Port B gallery in Paris.
Archaeo VIII, 2022
Archaeo IX, 2022
Mixed media on broken stone slabs within a steel frame
50x60 cm - 19x24 in
Private Collection
50x60 cm - 19x24 in
Private Collection
Hand drawn directly with acrylic ink on the metal surface, these stacked sequences of buildings reflect on the quintessential urban typology of the contemporary city.
The skyscraper.
Artwork available trough Embedded Blue Inc .
Please reach out for more information.
Request Artworks Catalogue︎︎︎
The skyscraper.
Artwork available trough Embedded Blue Inc .
Please reach out for more information.
Request Artworks Catalogue︎︎︎
Break, 2024
Ink and graphite on brass
110 x 30 cm
Ink and graphite on brass
110 x 30 cm
Artwork available trough Embedded Blue Inc . Tokyo, Japan
Please reach out for more information.
Request Artworks Catalogue︎︎︎
New York Strip
Drawings on paperA long view of an imaginary Manhattan skyline, so long that the perspective start to distort and deform the featured buildings.
This work was part of a solo show at Porte B gallery in Paris.
This work was part of a solo show at Porte B gallery in Paris.
New York Strip, 2023
Ink on paper mounted on wood panel
30 x 210 cm
Private Collection
30 x 210 cm
Private Collection
I haven't drew New York in quite a while because I've been focusing on Asian metropolises.
So to now draw New York again for this show was like talking with an old friend!
So to now draw New York again for this show was like talking with an old friend!
Illustrations
Urban Vortex
Commissioned illustration for El País Semanal
Art Direction . Diego Aresas
Bronze for Best cover ÑH19 Awarded by Capítulo Español de la Society for News Design (SND-E) & SND Sudamérica
Bronze for Best cover ÑH19 Awarded by Capítulo Español de la Society for News Design (SND-E) & SND Sudamérica
“More than half of the inhabitants of the planet live today in cities and by the middle of this century 70% of the world's population will be reached. Will there be room, employment and services for all?”
This monographic issue has brought together experts in the field, reporters, photographers and illustrators who have gone out in search of answers.
This monographic issue has brought together experts in the field, reporters, photographers and illustrators who have gone out in search of answers.
Published on El País Semanal magazine, 12th May 2019
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Original artwork
Urban Vortex, 2019
Ink on Waterford 250g/m2 paper
48x 38 cm
Ink on Waterford 250g/m2 paper
48x 38 cm
The New Yorker Sketchbook I
The New Yorker magazine, 23rd April 2012
Art Direction . Chris Curry
On the first piece of the series, an architectural capriccio where its possible to see depicted some of the city's highlights and personal favourites.
New New York, 2012
Ink on paper
18 x 23 cm | 7.3 x 9 in
Private collection
Ink on paper
18 x 23 cm | 7.3 x 9 in
Private collection
The New Yorker Sketchbook II
The New Yorker magazine, 24th December 2012
Art Direction . Chris Curry
On the second piece of the series, Central Park is the protagonist as a negative presence. A void in the urban landscape of NYC.
The New Yorker Sketchbook II, 2012
Ink on paper
18 x 73 cm | 7.3 29 in
Private collection
iPad version
The New Yorker Critics Section
The New Yorker magazine . 2012-2013
Creative Director . Chris Curry
A series of illustrations for the Critics Section at The New Yorker magazine. Focused on some cultural buildings in NYC but quickly evolved to different graphical representation of the city.
From 2012 to 2013, each month a new drawing was published on the magazine.
From 2012 to 2013, each month a new drawing was published on the magazine.
Experiments
I was asked by the Embassy of Portugal in Japan to design and develop a Creative Residency Program while holding the position of Artistic Director.
The result is a yearly program that aims to support a Portuguese person (or resident foreigner) working in a creative field to stay and develop personal work while in Japan.
Our local partner is ParadiseAIR and the program is supported by Camões Institute.
yaritori.pt
The result is a yearly program that aims to support a Portuguese person (or resident foreigner) working in a creative field to stay and develop personal work while in Japan.
Our local partner is ParadiseAIR and the program is supported by Camões Institute.
yaritori.pt
Portraits from a moment in the city.
A series of drawings based on interviews of people that I met in Tokyo.
A solo exhibition at the Embassy of Portugal in Tokyo, from the 27th November to 1st December 2023.
Join us for the public finissage
Friday, 1st December, 18.30h - 20.30h
Embassy of Portugal in Japan
3-6-6 Nishi-AzabuMinato-ku, Tokyo 106-0031
A series of drawings based on interviews of people that I met in Tokyo.
A solo exhibition at the Embassy of Portugal in Tokyo, from the 27th November to 1st December 2023.
Join us for the public finissage
Friday, 1st December, 18.30h - 20.30h
Embassy of Portugal in Japan
3-6-6 Nishi-AzabuMinato-ku, Tokyo 106-0031
Junpei . Yurakucho/Matsudo . 2023
Mixed media on paper
60x50 cm - 24 x19 in
60x50 cm - 24 x19 in
“During a stay in Sapporo and Tokyo, I've started to research ways to expand my field of work. To go beyond the urban landscape and to add a human element to my artworks.
For that I've defined a simple process. To interview a person and from that to create an artwork that would reflect their features and personality and also the location where that conversation took place.
A portrait from a specific moment in Tokyo.
Still a work in progress but definitely a step in a new direction.”
Tokyo, 2023
Miho . Shinjuku . 2023
Mixed media on paper
60x50 cm - 24 x19 in
60x50 cm - 24 x19 in
Kenichi . Baruko-Yokohama . 2023
Mixed media on paper
60x50 cm - 24 x19 in
60x50 cm - 24 x19 in
Mei . Taito . 2023
Mixed media on paper
60x50 cm - 24 x19 in
60x50 cm - 24 x19 in
Yuki . Shinjuku . 2023
Mixed media on paper
60x50 cm - 24 x19 in
60x50 cm - 24 x19 in
Thanks to the support of PARADISE Air & Sapporo TenjiyamaArt Studios.
And also to the Portuguese Embassy in Tokyo.
Breathing Line
Work developed at INCLASIFICABLE art residency
Cazalla de la Sierra, Sevilla . June-July 2019
An experiment based on a Japanese brush for calligraphy.
At my last visit to Japan, I fell in love with a brush (that happens, right?).
Loved its sensitivity, fluidity and expressiveness.
After filling many notebooks with a continuous line that reflected my breathing while drawing, I wondered what would happen with a change to a larger format.
For that I had recreate the brush and draw on the floor barefooted.
Each piece is a record of a different rhythm and time and invites you to follow the line and replicate the cadence of each breath.
At my last visit to Japan, I fell in love with a brush (that happens, right?).
Loved its sensitivity, fluidity and expressiveness.
After filling many notebooks with a continuous line that reflected my breathing while drawing, I wondered what would happen with a change to a larger format.
For that I had recreate the brush and draw on the floor barefooted.
Each piece is a record of a different rhythm and time and invites you to follow the line and replicate the cadence of each breath.
29 breaths, 2019Indian Ink on Gvarro 120 gr paper
1400 x 200 cm | 55 x 80 inches
Private Collection
33 breaths, 2019
Indian Ink on Gvarro 120 gr paper
1400 x 190 cm | 55 x 75 inches
Private Collection
30 breaths,2019Indian Ink on Gvarro 120 gr paper
1400 x 200 cm | 55 x 80 inches
Private Collection
33 breaths, 2019Indian Ink on Gvarro 120 gr paper
1400 x 190 cm | 55 x 75 inches
Private collection
31 breaths, 2019Indian Ink on Gvarro 120 gr paper
1400 x 190 cm | 55 x 75 inches
Private collection
29 breaths, 2019Indian Ink on Gvarro 120 gr paper
1400 x 200 cm | 55 x 80 inches
Private collection
These are sculptures made of plastic trash and debris collected along the coast of Pico, a island which is part of the Azores archipelago, situated right in the middle of the Atlantic Ocean.
faceplastic.org
@faceplasticproject
faceplastic.org
@faceplasticproject
I’ve stayed in Pico island for a few months during the summer and on my way to my favorite swimming spot I’ve noticed the plastic trash between the volcanic rocks on the shoreline.
It startled me because I was able to quickly gather 2 bags of trash on a 10 minutes walk.
It startled me because I was able to quickly gather 2 bags of trash on a 10 minutes walk.
So I decided to do something about it.
I’ve kept gathering trash and after a few days the first plastic faces were staring at me in their almost childish look.
This is my way to make it visible, to give it a face. Because this is our plastic.
Mine and yours.
I’ve kept gathering trash and after a few days the first plastic faces were staring at me in their almost childish look.
This is my way to make it visible, to give it a face. Because this is our plastic.
Mine and yours.
Follow along
@faceplasticproject/
50% of the proceeds will be donated to a non-profit organization that is taking direct actions to rid the world’s oceans of plastic.
@faceplasticproject/
50% of the proceeds will be donated to a non-profit organization that is taking direct actions to rid the world’s oceans of plastic.
Murals
Based on the mural made in 2019, this artwork displays a new configuration of the drawing featuring a selection of buildings and places from the creative ecosystem of Kitakagaya.
Normal
Shuffled
The drawing is divided in modules that allow for infinite configurations.
When the wall is re-assembled in another location, a new layout appears..
Knitting together different views of the Shibuya neighbourhood, from the letterings, the specific buildings and infrastructure.
A drawing for a 4x3 meters wall.
A drawing for a 4x3 meters wall.
Jungle City
Tokyo, 2024
Placement at the entry hall of Hotel Indigo Tokyo Shibuya
A paste up mural of a large print of two different drawings overlapping swatches in a reference to Rorschach’s famous psychological test.
The public approaches the artwork from a far, only reading its main shape and as it comes closer new stories and details become clear.
The public approaches the artwork from a far, only reading its main shape and as it comes closer new stories and details become clear.
A mural that gathers a selection of buildings and places from the creative ecosystem of Kitakagaya.
Special thanks to Junpei Mori for the recommending me and to Aoi Kisaka for making my stay such a pleasure.
Special thanks to Junpei Mori for the recommending me and to Aoi Kisaka for making my stay such a pleasure.
