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Artworks


ELIPSE
Drawings on brass



Underdogs Gallery
Lisbon, November 29th — December 21st 2019


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Hand drawn directly on the brass surface, these sequences of imaginary buildings and constructions grow into each other in a continuous loop of an infinite urbanscape distorted and deformed by invisible forces where the physical limits of the pieces become an integral part of the work that lies between a sculpture and a two dimensional drawing.






Elipse I, 2019
Acrylic ink on brass sheet
120 x 70 cm | 47 x 28 in 





Elipse II, 2019
Acrylic ink on brass sheet
170 x 60 cm | 67 x 24 in




Elipse III, 2019
Acrylic ink on brass sheet
130 x 75 cm | 51 x 30 in





Elipse IV, 2019
Acrylic ink on brass sheet
160 x 60 cm | 63 x 24 in



instalation view at UnderDogs gallery





work in progress

Fragments

Drawings in stone


This work was part of a solo show at UnderDogs gallery in Lisbon.
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.

Probably my favourite feature of these pieces is that when placed on a wall they invoque a strange feeling of loss and unknown. As if it there was so much more that could be told.




Fragments—Drawings on stone II, 2019
Ink on marble slabs
Aprox. 100 x 90 cm | 39 x 35 in


Available at Underdogs Gallery︎





Exhibition view







REMEMBER
Tokyo


This series was part of a solo exhibition at Almost Perfect gallery.
Thanks to the support of PARADISE Air & the Portuguese Embassy in Tokyo.
I’ve also gave a quick talk about it at Pecha Kucha Tokyo.

A series of artworks on paper that derive from personal recollections of Tokyo’s urbanscape.
Drawing in a stream of consciousness with memories flowing and intermingling. Knitting together fragments of the urban skin and details from selected locations around the city.
In doing so, each drawing can be traced back to a unique area in Tokyo and how I remember its features.



Ueno, 2019
Ink and watercolor on paper
50 x 50 cm | 19 x 19 in

Private collection


Shinjuku, 2019
Ink and watercolor on paper
50 x 50 cm | 19 x 19 in

Private collection


Shibuya, 2019
Ink and watercolor on paper
50 x 50 cm | 19 x 19 in

Private collection

Okachimachi, 2019
Ink and watercolor on paper
50 x 50 cm | 19 x 19 in

Private collection

Ikebukuro, 2019
Ink and watercolor on paper
50 x 50 cm | 19 x 19 in

Private collection


Nakameguro, 2019
Ink and watercolor on paper
50 x 50 cm | 19 x 19 in

Private collection




REMEMBER
Hong Kong


This work was part of a solo exhibition
at Art and Culture Outreach in Hong Kong.


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An ongoing series of artworks on paper that derive from personal recollections of Hong Kong’s urbanscape.
Drawing in a stream of consciousness with memories flowing and intermingling. Knitting together fragments of the urban skin and details from selected locations around the city. In doing so, each drawing can be traced back to a unique place in Hong Kong and how I remember its features.







Around Chungking Mansion, 2019
Hand drawing in ink and watercolor on Waterford 250g/m2  paper
50 x 50 cm | 19 x 19 in




Leaving Kowloon station, 2019
Hand drawing in ink and watercolor on Waterford 250g/m2  paper
50 x 50 cm | 19 x 19 in




Walking trough Hoi Tin Road, 2019
Hand drawing in ink and watercolor on Waterford 250g/m2  paper
50 x 50 cm | 19 x 19 in







Illustrations

Urban Vortex

El País Semanal


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

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“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.



Published on El País Semanal magazine, 12th May 2019




Original artwork
Urban Vortex, 2019
Ink on Waterford 250g/m2 paper
48x 38 cm







The New Yorker Sketchbook I





New New York, 2012
Ink on paper
18 x 23 cm | 7.3 x 9 in
Private collection



Published on The New Yorker magazine, 23rd April 2012






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.

Art Direction . Chris Curry


The New Yorker Sketchbook II






The New Yorker Sketchbook II, 2012
Ink on paper
18 x 73 cm | 7.3 29 in
Private collection


Published on The New Yorker magazine, 24th December 2012



iPad version



On the second piece of the series, Central Park is the protagonist as a negative presence. A void in the urban landscape of NYC.

Art Direction . Chris Curry


The New Yorker Critics Section











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.

Creative Director . Chris Curry


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.











29 breaths, 2019
Indian 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
Available






30 breaths,2019
Indian 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






31 breaths, 2019
Indian Ink on Gvarro 120 gr paper
1400 x 190 cm | 55 x 75 inches
Private collection
29 breaths, 2019
Indian Ink on Gvarro 120 gr paper
1400 x 200 cm | 55 x 80 inches
Private collection







Face Plastic




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





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.
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.
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.

Murals


Tell me what you see


Produce within the Walk&Talk Festival
Ponta Delgada, Azores, Portugal.
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.





Photos . Rui Soares



Creative Kitakagaya


Produced with the suport of Chishima Foundation
2019 . Osaka, Japan


A mural that gathers a selection of buildings and places from the creative ecosystem of Kitakagaya.

Special thanks to Junpei Mori for the introduction 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.




Twisted, 2016
Ink on wall
15 x 2 m | 49 x 6.5 ft










Unfolded


Made with the support of the Fundación Pampero. Commissioned by the Armazém do Chá

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.



Unfolded
Ink on paper
330 x 970 mm |  13 x 38 in




Photos . Ricardo Macedo