painting

Showing all 10 results

  • The Life Of Ruben – Bernardo Sousa Santos

    33.00

    “The life of Ruben” is the result of chance. An album of childhood photographs found on the street among other remains is now censored with gouache and finally rearranged. It had already ceased to be life, it became an object. From a set of just over a hundred images, twenty-five are presented to give shape to a reinvented memory.

  • LIVRO DE PINTURAS II – Martinho Costa

    45.00

    Martinho’s second paintings book mimics the original book series the artist developed daily. With six books simultaneously opened in the studio, Martinho painted with oil on a different book each day, letting the paint dry during the rest of the time and starting all over again the following week. This is the second of six books of that series.

  • YOU COULD FEEL THE PLASTIC – Ricardo Passaporte

    15.00

    Ricardo Passaporte's body of work is deeply engaged with the history of Pop, underscoring the evolving relationship between art and commerce as well as articulating the parallels between graffiti’s custom of tagging and the same repetitive, identity-driven practice of the corporate logo. By appropriating these logos as his artistic tag, Passaporte disrupts the relationship between brand and consumer.

  • HORTUS – Maria Condado

    28.00

    This book is a graphic voyage through the history of gardens. As in a card deck, everything is shuffled and dealt again. A portable landscape in book format.

  • O COLAPSO DA CIVILIZAÇÃO – João Fonte Santa

    48.00

    This book is a visual potpourri of a society that was thought invulnerable and believed eternity was about that brief moment of zero gravity when the world is perfect!  

  • BROWSING – Pedro Amaral

    30.00

    With these exercises, Pedro Amaral keeps the foundation and working method of appropriation by making a selection of images from both books and illustrated encyclopedias, but also from files or the Internet. But what stands out is the white paper, the treatment of the line, the fine features that contribute to the lightness and print a refined and detailed materiality. A determinant characteristic of this work is also the efficient operation of the ink, blue and black, used in the natural landscape motifs and figuration of human activity.

  • LIVRO DE PINTURAS I – Martinho Costa

    45.00

    Martinho’s first paintings book mimics the original book series the artist developed daily. With six books simultaneously opened in the studio, Martinho painted with oil on a different book each day, letting the paint dry during the rest of the time and starting all over again the following week. This is the first of six books of that series.

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    YELLOW BIRDS IN THE SHADE – António Olaio

    55.00 27.50

    This book is a sequel to Olaio’s canvas with the same title and comes with a 7” vinyl with two versions of the song Yellow Birds in the Shade, a happy melancholy. A limited art object with an original handmade drawing on each cover, making each copy unique.

  • 54 NUCLEAR POWER PLANTS – João Fonte Santa

    30.00

    Kept secluded and in inaccessible areas, nuclear power plants are just redeemed of invisibility through their inclusion in the databases of the Internet, where some general plans are eventually to be confused with any other industrial plant structure and therefore instill an acknowledgment that dilutes suspicions about the operations developing in its interior. João Fonte Santa takes into account the marketing strategies that support the ambivalence of public opinion on these energy sources, which eventually dissipate and even mute the threat hanging over the horizon. The use of watercolor, unlike oil or acrylic, lacks thickness and uniformity to give it body and presence, so images apear to be prints and assume an utopian dimension.

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    GREY MATTER – Miguel Palma

    25.00 12.50

    It all started during the summer. With plenty of sun and heat Miguel Palma missed the winter and decided to think of gray. “There is a kind of nostalgia,” he said. However it is very difficult to paint in gray and so he got some pantones that he brought from the United States, with colors used in construction in Arizona, where he was in residence for a year. From the pantones he did an exercise that falls within the Abstract Expressionism and dripping, and from there he began telling stories. “I’ve cut out pictures and phrases from books and magazines. Each drawing refers to a day thinking about a certain subject,” he says. These were painted daily for 2 months, resulting in 46 drawings.