ELIPSE
Drawings on brass
Underdogs Gallery
Lisbon, November 29th — December 21st 2019
Purchase artworks ︎
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
Private collection
Acrylic ink on brass sheet
120 x 70 cm | 47 x 28 in
Private collection
Elipse II, 2019
Acrylic ink on brass sheet
170 x 60 cm | 67 x 24 in
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
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
Acrylic ink on brass sheet
160 x 60 cm | 63 x 24 in
instalation view at UnderDogs gallery
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work in progress
work in progress
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.
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 Gallery︎
Exhibition view
Walking Trough Ginza
Rememeber Tokyo SeriesAn ongoing series of artworks on paper that derive from personal recollections of Tokyo’s urbanscape.
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 Tokyo and how I remember its features.
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 Tokyo and how I remember its features.
Walking trough Ginza, 2020
Hand drawing in ink on Hahnemühle 300g/m2 paper
100 x 50 cm | 38 x 19 in
Private collection
Hand drawing in ink on Hahnemühle 300g/m2 paper
100 x 50 cm | 38 x 19 in
Private collection
Around Akihabara Station
Remember Tokyo seriesAn ongoing series of artworks on paper that derive from personal recollections of Tokyo’s urbanscape.
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 Tokyo and how I remember its features.
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 Tokyo and how I remember its features.
Around Akihabara Station, 2020
Hand drawing in ink on Hahnemühle 300g/m2 paper
50 x 50 cm | 19 x 19 in
Private collection
Hand drawing in ink on Hahnemühle 300g/m2 paper
50 x 50 cm | 19 x 19 in
Private collection
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.
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
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
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
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
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
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
Ink and watercolor on paper
50 x 50 cm | 19 x 19 in
Private collection
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
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 introduction and to Aoi Kisaka for making my stay such a pleasure.
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.
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
