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.
Part of a group show at Porte B gallery in Paris.
Part of a group show at Porte B gallery in Paris.
Archaeo VIII, 2022
Archaeo IX, 2022
Mixed media on broken stone slabs within a steel frame
50x60 cm - 19x24 in
Available at Porte B gallery
50x60 cm - 19x24 in
Available at Porte B gallery
Flâneur
Commissioned by Primosfera
Architecture by Manuel Aires Mateus
Video (and frame stills) by Vladimir Leopoldo
Creative Direction by Pacifica
A site-specific artwork to live inside a beautifully restored 19th-century building that stands on the border between the cosmopolitanism of Avenida da Liberdade and the authenticity of a traditional Lisbon bairro.
Hand drawn directly on brass, the artwork features fragmented memories from the immediate urban surroundings.
Hand drawn directly on brass, the artwork features fragmented memories from the immediate urban surroundings.
Flâneur
2022
2022
Ink on brass sheets
Approx 3 x 1,5 m | 10 x 5 ft
Approx 3 x 1,5 m | 10 x 5 ft
“It is this spirit of the promenade, of the notion of losing and finding oneself in the city, that the artist Vasco Mourão has revived, like a flâneur sauntering across the Portuguese cobbles under the shade of the trees, past kiosks, pavement cafés, neoclassical theatres and Art Nouveau buildings.”
“Based on these wanderings, using a marker and seven concave pieces of brass, the artist has created the existing city and an imagined version of it, reproducing trajectories and facades that change depending on the angle from which the panel is viewed.”
“The three-dimensional artwork, a jewel on which the city’s face has been drawn, can be seen in the building’s lobby, which brings the spirit of the age of the bairro and the capital into the interior of 21 Barata Salgueiro.“
By Primosfera
Video by Vladimir Leopoldo
Drawing directly in broken marble slabs, this line of work takes me to a kind of a reverse archeology where I slowly uncover the composition connecting each fragment and speaks of a larger artwork that remains incomplete.
Based on a selection of Boston’s architectural highlights, it is both an homage and a memento mori to the urbanscape.
Based on a selection of Boston’s architectural highlights, it is both an homage and a memento mori to the urbanscape.
Fragments–Boston, 2020
Ink on marble slabs
Ink on marble slabs
Approx. 150 x 150 cm | 60 x 60 in
Private collection – TA Associates, Boston
Private collection – TA Associates, Boston
Archaeo V, 2022
Mixed media on broken stone slabs
50x50 cm - 19x19 in
50x50 cm - 19x19 in
Archaeo IV, 2022
Mixed media on broken stone slabs
50x50 cm - 19x19 in
Private Collection
50x50 cm - 19x19 in
Private Collection
Archaeo III, 2022
Mixed media on broken stone slabs
40x40 cm - 15x15 in
Private Collection
40x40 cm - 15x15 in
Private Collection
Archaeo II, 2022
Mixed media on broken stone slabs
40x40 cm - 15x15 in
Private Collection
40x40 cm - 15x15 in
Private Collection
Archaeo I, 2021
Mixed media on broken stone slabs
40x40 cm - 15x15 in
Private Collection
40x40 cm - 15x15 in
Private Collection
Tokyo Lights, 2020
Digital drawing
180 x 48 cm | 71 x 19 in
Drawn mostly from the neighbourhoods of Shinjuku, Kabuki-chō, Shibuya, Shimokitazawa, Ikebukuro & Ginza. Plus a little homage to Shuetsu Sato (a subway security guard) and its handmade temporary signage.
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
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.
See the full series here
faceplastic.org
50% of the proceeds will be donated to The Ocean Cleanup. A non-profit organization that is taking direct actions to rid the world’s oceans of plastic.
faceplastic.org
50% of the proceeds will be donated to The Ocean Cleanup. A non-profit organization that is taking direct actions to rid the world’s oceans of plastic.
Murals
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.
20 days of drawing as a performance for The International Conference on Structures and Architecture (ICSA), the world's leading and largest global conference bridging the gap between Structures and Architecture.
Depicting architectural meanderings and imaginary structures, a long drawing emerges to crown the main entry of hall of the Architecture School.
Depicting architectural meanderings and imaginary structures, a long drawing emerges to crown the main entry of hall of the Architecture School.
Twisted, 2016
Ink on wall
15 x 2 m | 49 x 6.5 ft
Ink on wall
15 x 2 m | 49 x 6.5 ft
Illustration for long wall at the Bar Armazém do Chá in Oporto, Portugal.
A continuos drawing depicting various buildings from the city, drawn in a way that it maintains the same vanishing point along the piece, creating a focal center.
A continuos drawing depicting various buildings from the city, drawn in a way that it maintains the same vanishing point along the piece, creating a focal center.
UnfoldedInk on paper
330 x 970 mm | 13 x 38 in
