Vasco Mourão


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Vasco Mourão works on the perception, texture and memory of the urban landscape. Only with a pen and time, his practice focus on the representation of cities trough drawings on paper, wood and metal.
Drawings of cityscapes and other architectural meanderings at large, rearranged on the canvas.
Inhabiting a place between fine art and illustration, Vasco Mourão creates bespoke artworks and large scale murals for various private clients, galleries and institutions, working also on selected editorial commissions.
Originally from Portugal, now based in Barcelona (when not on the yearly work & travel walkabout)










The Visible Cities 
by Jorge Carrión


The artist Vasco Mourão comes from the world of architecture and travels. This double genealogy brings him closer to those who imagined and designed the iconic buildings of the world as well to those who described it in their books, sketches or photographs.

But Vasco’s work does not focus on the detail but rather to the whole. From his point of view what matters most is not the architecture per se but the urban landscape, not so much the singular route but rather the labyrinth of networks weaved by the traveler or the driver when circulating in the contemporary metropolis.
Because the greater narrative and conceptual theme of Vasco’s work is the city. The urban landscape as multiplication and as a succession of mirrors.

Although a drawing may speak of New York, Lisbon, Genoa or Barcelona, in a simultaneous and inclusive plane it is also representing the invisible cities of Italo Calvino.
Like those of the Italian writer, the ones drawn by the Portuguese artist are made of illusion (optical and sentimental) and desire (of possession and order), counting on a memory shared by all human beings. The city as transversal home, as a shared horizon. The city also as geometry, pattern and infinite combinations. No matter where you live you’ll recognise aspects of your own city in these visible cities in black and white.

The medium where Vasco draws on are also in tune with the urban history. On paper refers to the labor of recollection of data and events; on wood it connects the rural with the urban space, it recalls the beam that supports the building and the everyday furniture, work and rest: on metal is present the modern metropolis, its iron architecture, its infatuation with precious metals to underline luxury and stainless steel to claim technological advances.
These there materials are superimposed on the stone of a wall. Because his work is always mural. A second skin that covers the epidermis of the cities of the world that he, obsessively, is copying, imagining, collecting.