The concept was to search for connections between the Ria de Aveiro – the sea that feeds its – and the people of Aveiro. This will feature the sculpture “Woman of the Sea”, the mural “AQUA-MATER”, and the setting “Guardian of the Lagoon” where ceramics meets sculpture.
Artistas Convidados 2021
A journey through my work arises by way of stoneware and the porcelain transformed by the hot fires, some glazed, some not, revealing the clay's natural texture. Where the mural “Timeline” appears with two sets of pieces, boxes and teapots, and the setting “At the table”.
Naked bodies covered in loam and clay. Raw singularities and camouflage in the shadows. The hairs that cover us and the individualism that is obscured in the community. The eliminated primary identification that gives way to a conformism of the whole. We are a body that says “I” but prevented from doing so in the absence of the circumstances that allow it to happen.
The body mould shows and hides lines and veins. The perfect imperfections. Bodily expression with no facial identification. The material moulds the body like a supplement; it doesn’t eliminate it. It outlines the imperfections already created and brings them to light. A record that traverses the nude, the fresh blanket, and the dry product. Identification is thus transmitted by the marks left from what is overlaid.
I move a flexible blade that I freely bend inside the clay and cut. The gesture is continuous like writing. Within the earth, the volume is moulded blindly. I imagine it; I design it as I make it. I live it.
Before making it, I concentrate as if it were calligraphy. I very often do it without any previous design, only writing that flows in seconds.
Then I free part of the clay that is separated to allow this sensitive mark to be revealed, this story of a brief instant. A few dozen seconds of pure creation, followed by the extended time required by ceramics…
An emblematic character in Portuguese pottery, by developing ties with Porto’s academic world in the 1960s, Rosa Ramalho created the circumstances for her work to be recognised and disseminated. This exhibition will shed light on the work of the famous potter who, throughout her life, enshrined in clay the contained imagery in the legends, rites, and traditions of Minho.
In partnership with the Manicómio project and artist Anabela Soares, the texts from the municipal schools in Aveiro, Estarreja, Águeda, Anadia, Albergaria-a-Velha, Murtosa, Ílhavo and Server do Vouga were transformed into pieces of pottery. To allow the school community to play an active part in the Biennial, the project “The poetry of shape” combined the written word with pottery, allowing the words to also be moulded and expressed through the plasticity of clay.
The students explored the theme “Fears”, and the artist turned these into works. Manicómio is the first creative space and gallery of Arte Bruta in Portugal. With no schedule to follow, Manicómio offers freedom in artistic practice and freedom to pursue individual purposes, linking art to mental health and human rights.
Taking the cobblestones in Praça da República square in Aveiro, whose design is made up of many circles with three different diameters, we proposed the installation of 13 ceramic sculptures on 13 cylindrical plinths, establishing a relationship with the circles on the ground as an existing urban feature. The themes for the sculptures are free, as are the technological processes and, depending on the layouts, the works may be closer or more distant from each other, enabling smooth circulation for those who visit the square.
Helena Elias, Marta Castelo, Pedro Matos Fortuna, Sérgio Vicente, Isabelle Catucci, Joana Garcia e Costa, João Gama, João Rolaça, Lola Sementsova, Maria Bezuglaya, Marika Brandt, Marta Monachesi, Nadia Frolova