Gap, 2018
Wood, velvet and acrylic paint
200x15x10 cm

A matter of perspective II, 2022
Acrylic on lacquered iron
80x60x1,2 cm

INTENSION

(en) properties inherent to a concept or word | (pt) propriedades inerentes a um conceito ou palavra

INTENTION

(en) something you plan to do | (pt) algo que se planeia fazer

INTENSÃO

(pt) aumento de tensão | (en) tension increase

INTENÇÃO

(pt) propósito, intento ou vontade | (en) purpose, intention or will

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The formulation (IN)TENSION, that gives the title to this showcase, with works produced between 2018 and 2022, exists at the intersection of a game of words and its linguistic variations, generically preserving the basic notion of an internal tension that takes the form of an intention.

Over the last few years, I have sought, in the formal investigations inherent to my work, minimal formulations to translate deep and significant experiences of the human condition and its implications in interpersonal relationships. In this context, tensions - sometimes with contrasting origins - have been presented as underlying (but of central importance) to notions and realities as complex as death, failure, anxiety, presentiments, drives, disruption, paradoxes..

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I believe that it is a transversal characteristic to any artist the need to identify the conflict/intention that leads to the production of artworks. This intention, and the tension contained within the artist, may vary over time… but there is often a guiding line that sews together all the evoked concerns and, as time passes, becomes more perceptible to the artist and to others – if it wasn’t at the beginning – even if it is reflected in different materializations.

The retrospective exercise of evaluating the development of the “intentions” that become artistic matter is the invitation that is in the origin of this showcase; an invitation that NAVE Gallery extended to me and one that we chose to extend to the public.

In the different works presented here, separated by years in their production, it is possible to identify relatable aesthetic strategies and conceptual motivations that, without making evident an explicit biographical narrative, have their origin in personal experiences that one wishes to echo within the public.

Thus, there would be no added value in carrying out an overly rational decomposition of each one of the works that are presented together for the first time in the gallery space. But perhaps it is pertinent to unveil some procedural notes relating to each of the works, allowing the public to establish their path through them, in an individual way.

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GAP (2018) | Existence of a hiatus: an instinctual interval between two elements. The space between intention and realization: the universe where all the unforeseen, chance and possibilities belong.

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UNFIT (2019) | Inadequacy. Inability of one surface (sculpture) to adapt to another (floor). Unrealized impulse of belonging.

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THAT HOLE IN THE GROUND (2019) | Death. Difficult relation. Pulse and impulse. Seduction.

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EMBRACE (ORANGE) (2020) | The tension of a grip: too tight vs not tight enough. Compression and need for distension.

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I ONLY DREAM WHEN I’M AWAKE (2021) | The trauma of the sunrise. Inability to sleep. Imposition of reality. Impossible to dream.

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A MATTER OF PERSPECTIVE (2022) | Need to adopt different perspectives. Mobility as a translation of urgency and search. Vital impetus. Find the hidden. To counter any stagnation.

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TEXT: SUSANA ROCHA