lembrança do lugar onde nunca estive egg tempera on paper, partly painted with pigments processed from jacaranda flowers, seeds of a jacaranda tree sewed in cotton 32,2 x 45,4 cm, 27,4 x 23,3 cm 2022
I collected flowers fallen from jacaranda trees in the streets of Lisbon and processed/transformed them into pigments. Their intense lila faded into green-brown as seen in the branch of the painting. The transformation of the color and the collection of seeds picture the magical potential of natural change and renewal, but also the colonial act of plant immigration and stories of deplacement. The jacaranda tree keeps on sharing its own memory with us in a beautiful way- whenever it blooms. This happens in Portugal twice a year, in spring and in autumn- when it is spring in its land of origin, Brazil.
the sun, or how to remember a blue sky?
watercolor and pencil on paper,
25 x 45 cm
Creating a cooling effect on earth by injecting aerosols in the stratosphere is becoming one possible tool of geoengineering to face global warming. The particles have to be spread regularly, they would move and carry with the directions of the high winds and currents across the globe. They do not stop at national borders, they can hardly be controlled and condemned in the high stratosphere. Due to the difficulties in modeling their impact on the climate system, the efficiency of the technique is not predictable and remains theoretical until the urgency of climate crises pushes for any implementation of solar geoengineering. But who will decide for the moment when the crisis becomes urgent enough to use a technique of this scale? While the Global South suffers in the first place under the consequences of global warming, the industrial nations will still not fulfill the Paris Agreement. Collective decision-making processes become even more important when we think about the unpredictable consequences of one single country using aerosols to change the appearance of the sky. We can consider, for instance, that particles which are naturally let free from a volcano eruption would shield the sun in a larger scale for an uncertain period and turn the sky into shades of dust.
The first time I read about solar radiation modification it was winter in Lisbon, in the beginning of 2022. During these days, large amounts of sand from the Sahara area was carried by winds towards the north, setting Europe almost entirely in a yellow subdued light for a couple of days. In a place with more than 300 days of blue sky per year, the mysterious yellow in the air radically shifted my perception of the environment. Facing the yellow fog, the natural event resonated with my research about solar engineering which would also diffuse the shades of light. By blending thoughts of sahara sand and this very geo gesture I was longing for the blue sky to appear.
melting little ice cubes 7 water paintings on paper 14,8 x 19,2 cm 2022
During a very hot summer day, I painted melting ice cubes on a plate. Due to the high temperature in my room, I had to work fast to freeze the little cubes into images before they disappeared.
photograph in wooden frame
20 x 40 cm
This image pictures an abandoned nest made by a bird out of grass and plastics, found in a field in Cortém, PT.
Hunting of the Snark II Watercolor on paper epoxy 97 x 100 cm 2019 ˜
Reflective Map (with Love to Anna Barriball‘s Silver Map) Graphite on silkpaper 35 x 45 cm 2019 ˜
Fly Isolation fabric, thread approx. 40 x 30 x 20 cm 2019 ˜
paula’s flowers Tempera on plywood series of 18, 14 cm each 2019
Indigo various materials dimensions variabel 2018 ˜
pulpe wood glue, German and French newspapers
40 x 20 cm 2019 ˜
Farbtafeln pigments, various materials in plaster on wood various dimensions 2017