Exhibition Views
contemporary art gallery
João Queiroz
Geppetto - Encáusticas sobre madeira
30 NOV 23 - 20 JAN 24
I'm using photography as a way to investigate and try to understand these seas. I attempted to make them more artificial and less natural.
Nuno Cera in conversation with Miguel Nabinho
Photographic documentation
Among the one-person exhibitions we can single out: “Drawings”, CAM, Gulbenkian Foundation; “Body Building”, Loja da Atalaia, Lisbon; “Rui Sanches, Retrospective”, CAM, Gulbenkian Foundation and “Museum”, Museu Nacional de Arte Antiga, Lisbon. Some important group-exhibitions were: the 19th São Paulo Bienal; “PASTFUTURETENSE”, Winnipeg Art Gallery and Vancouver Art Gallery; “Tríptico”, Europália 91. Museum van Hedendaagse Kunst, Ghent; “From Silence to Light”, Watari-Um, Tóquio; “Abstract/Real”, Museum Moderner Kunst Stiftung Ludwig, Viena; “Dentro y Fuera” Cáceres and “Serralves 2009 – The Collection”, Museu de Serralves, Porto. During the 1980’s his work was based on the deconstruction of paintings and genres of painting.
João Queiroz began to exhibit painting and drawing in the early 1980s, while studying Philosophy at the Faculty of Letters of the University of Lisbon. Both interests converge in his work, which engages in an informed reflection on the role of the image in the contemporary age.
The experimental methods he has explored to approach old problems of the language of art involve as much the potential of words written into compositions as, from 1998 onwards, the possibility of a sensorial and non-descriptive representation of nature. João Queiroz taught Drawing, Painting and Art Theory at the Ar.Co (1989-2001) in Lisbon, where he actually lives and works
Artist Bio
João Queiroz began to exhibit painting and drawing in the early 1980s, while studying Philosophy at the Faculty of Letters of the University of Lisbon. Both interests converge in his work, which engages in an informed reflection on the role of the image in the contemporary age.
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).
The experimental methods he has explored to approach old problems of the language of art involve as much the potential of words written into compositions as, from 1998 onwards, the possibility of a sensorial and non-descriptive representation of nature. João Queiroz taught Drawing, Painting and Art Theory at the Ar.Co (1989-2001) in Lisbon, where he actually lives and works.
Artist Bio
João Queiroz began to exhibit painting and drawing in the early 1980s, while studying Philosophy at the Faculty of Letters of the University of Lisbon. Both interests converge in his work, which engages in an informed reflection on the role of the image in the contemporary age.
The experimental methods he has explored to approach old problems of the language of art involve as much the potential of words written into compositions as, from 1998 onwards, the possibility of a sensorial and non-descriptive representation of nature. João Queiroz taught Drawing, Painting and Art Theory at the Ar.Co (1989-2001) in Lisbon, where he actually lives and works.
Artist Bio
We can call these visual toys.
João Queiroz in conversation with Miguel Nabinho
Artworks
Among the one-person exhibitions we can single out: “Drawings”, CAM, Gulbenkian Foundation; “Body Building”, Loja da Atalaia, Lisbon; “Rui Sanches, Retrospective”, CAM, Gulbenkian Foundation and “Museum”, Museu Nacional de Arte Antiga, Lisbon. Some important group-exhibitions were: the 19th São Paulo Bienal; “PASTFUTURETENSE”, Winnipeg Art Gallery and Vancouver Art Gallery; “Tríptico”, Europália 91. Museum van Hedendaagse Kunst, Ghent; “From Silence to Light”, Watari-Um, Tóquio; “Abstract/Real”, Museum Moderner Kunst Stiftung Ludwig, Viena; “Dentro y Fuera” Cáceres and “Serralves 2009 – The Collection”, Museu de Serralves, Porto. During the 1980’s his work was based on the deconstruction of paintings and genres of painting.
"Encaustic is a traditional medium, it's a traditional painting technique that exists where you paint with hot wax pigments. So what happens is that the way you paint the picture is quite different. It has to be a step-by-step construction. It's almost like making a toy. (...) It also requires a different kind of attitude towards the painting: you can scrape, you can make incisions, you can put brushstrokes one on top of the other. It's a sort of cross between carpentry, if you like, engraving and painting.
That's where the name Geppetto came from. Because I usually paint standing up and I was in the studio and I saw myself doing the work sitting on a stand and I said to myself, 'oh João you look like Geppetto making a toy'. And in fact, there's this analogy between a toy, which is played with in a certain way, and a painting, which is seen in a certain way. In other words, when you realise how the painting looks, what it demands of your gaze, it's like a game, it's like a toy. (...)
No, it's not a big picture, it's small, it's a different kind of picture. A small painting has just as much intensity as a big one. It just has to be seen in a different way."
João Queiroz in conversation with Miguel Nabinho
standing up and I was in the studio and I saw myself doing the work sitting on a stand and I said to myself, 'oh João you look like Geppetto making a toy'. And in fact, there's this analogy between a toy, which is played with in a certain way, and a painting, which is seen in a certain way. In other words, when you realise how the painting looks, what it demands of your gaze, it's like a game, it's like a toy. (...)
No, it's not a big picture, it's small, it's a different kind of picture. A small painting has just as much intensity as a big one. It just has to be seen in a different way."
João Queiroz in conversation with Miguel Nabinho
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).
"Encaustic is a traditional medium, it's a traditional painting technique that exists where you paint with hot wax pigments. So what happens is that the way you paint the picture is quite different. It has to be a step-by-step construction. It's almost like making a toy. (...) It also requires a different kind of attitude towards the painting: you can scrape, you can make incisions, you can put brushstrokes one on top of the other. It's a sort of cross between carpentry, if you like, engraving and painting.
That's where the name Geppetto came from. Because I usually paint
"Encaustic is a traditional medium, it's a traditional painting technique that exists where you paint with hot wax pigments. So what happens is that the way you paint the picture is quite different. It has to be a step-by-step construction. It's almost like making a toy. (...) It also requires a different kind of attitude towards the painting: you can scrape, you can make incisions, you can put brushstrokes one on top of the other. It's a sort of cross between carpentry, if you like, engraving and painting.
That's where the name Geppetto came from. Because I usually paint standing up and I was in the studio and I saw myself doing the work sitting on a stand and I said to myself, 'oh João you look like Geppetto making a toy'. And in fact, there's this analogy between a toy, which is played with in a certain way, and a painting, which is seen in a certain way. In other words, when you realise how the painting looks, what it demands of your gaze, it's like a game, it's like a toy. (...)
No, it's not a big picture, it's small, it's a different kind of picture. A small painting has just as much intensity as a big one. It just has to be seen in a different way."
João Queiroz in conversation with Miguel Nabinho