Gaëtan

Algum desenho

6 MAY - 30 JULY 2011

Exhibition View

Artworks

Exhibition Opening

Patrícia Garrido graduated in painting at the Escola Superior de Belas-Artes in Lisbon (ESBAL). She has participated in numerous group exhibitions which include: Mais Tempo, Menos História, Serralves Foundation, Porto (1996); O Império Contra-Ataca, Galeria ZDB, Lisbon (1998); Squatters, Galeria do CRUARB, Porto (2001). Solo exhibitions include: T1, Serralves Foundation, Porto (1998); Móveis ao Cubo, Desenhos ao Acaso, TREM Galeria Municipal de Arte, Faro (2009); Peças Mais ou Menos Recentes, EDP Foundation, Museu Nacional Soares dos Reis and Galeria Fernando Santos, Porto (2013).

Gaëtan's work in its essence is deeply connected with drawing. In the beginning of his career, in the late 70s, the paper is already used not as a base but as a modeling material. His work mixes several vanguardist tendencies in vogue at that time and its respective leitmotiv, beginning to outline an appeal to transgression made through the mediation of the body itself. Utilizing a personal register (in between a quick and violent line and the almost imperceptible doodle). Ever since 1981 Gaëtan became centered in self-representation, in an escape art, made through variations on the same theme, his face.

He exhibited for the first time in 1978. Participated in multiple collective exhibitions, such as: XXI Biennale de Paris (1980); Depois do Modernismo, Sociedade Nacional de Belas-Artes, Lisboa (1983); Tríptico, Museum van het Hedendaagse Kunst, Gent (1991); Drawing Towards a Distant Shore: Selections from Portugal, The Drawing Center, New York (1994); Meio Século de Arte Portuguesa, 1944-2004, Museu do Chiado, Lisboa (2004).

Artist Bio

Her work is featured in the following collections: Museu do Chiado, Serralves Foundation, Museu de Arte Contemporânea do Funchal, EDP Foundation, Coleção António Cachola and also the Coleção Banco Privado. She received the Prémio União Latina prize in 2001.From the principles of assemblage, intervened appropriation and abstract construction, the artist creates objects that appeal to the careful reading of their own processes, surprise and intrinsic nature. Isolated or conceived for dialogues in the space, they have the presence and the tactile appeal of sculpture, but also the resourcefulness of drawing and the intriguing challenge of their latent symbolic reference.

He exhibited for the first time in 1978. Participated in multiple collective exhibitions, such as: XXI Biennale de Paris (1980); Depois do Modernismo, Sociedade Nacional de Belas-Artes, Lisboa (1983); Tríptico, Museum van het Hedendaagse Kunst, Gent (1991); Drawing Towards a Distant Shore: Selections from Portugal, The Drawing Center, New York (1994); Meio Século de Arte Portuguesa, 1944-2004, Museu do Chiado, Lisboa (2004).

Patrícia Garrido graduated in painting at the Escola Superior de Belas-Artes in Lisbon (ESBAL). She has participated in numerous group exhibitions which include: Mais Tempo, Menos História, Serralves Foundation, Porto (1996); O Império Contra-Ataca, Galeria ZDB, Lisbon (1998); Squatters, Galeria do CRUARB, Porto (2001). Solo exhibitions include: T1, Serralves Foundation, Porto (1998); Móveis ao Cubo, Desenhos ao Acaso, TREM Galeria Municipal de Arte, Faro (2009); Peças Mais ou Menos Recentes, EDP Foundation, Museu Nacional Soares dos Reis and Galeria Fernando Santos, Porto (2013).

Gaëtan's work in its essence is deeply connected with drawing. In the beginning of his career, in the late 70s, the paper is already used not as a base but as a modeling material. His work mixes several vanguardist tendencies in vogue at that time and its respective leitmotiv, beginning to outline an appeal to transgression made through the mediation of the body itself. Utilizing a personal register (in between a quick and violent line and the almost imperceptible doodle). Ever since 1981 Gaëtan became centered in self-representation, in an escape art, made through variations on the same theme, his face.

Artist Bio

He works with a total three-dimensionality, that of his sculptures as autonomous objects and external to the spectator and that of space as an involving topography and conducive to new experiences of aesthetic perception.

Paulo Henriques, Museum: Rui Sanches

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