Academic qualification

ARTIST STATEMENT

This practice does not align itself with a specific school or movement. It can, however, be understood in articulation with subjective documentary, post-conceptual approaches, and the phenomenology of perception, as fields of thought and practice that inform—without determining—the ways in which the image is observed, constructed, and made visible.
The relationship between these three dimensions allows the image to be considered as a continuous process. This process begins with observation, develops through construction, and is completed in the act of making visible. Subjective documentary affirms a connection to the real and recognises that all observation is situated and shaped by the experience of the author. Post-conceptual approaches introduce attention to method, duration, and repetition. They allow the meaning of the image to be constructed and reconfigured throughout the working process, informed by prior theoretical reflection that remains open rather than closing itself into a single formulation or fixed statement. Phenomenology, in turn, focuses on perception and on the relationship between body, time, and space, reinforcing the lived dimension of the gaze. Together, these approaches sustain a practice that observes without neutralising, constructs without closing meaning, and makes visible without reducing the image to a mere record or an illustration of ideas. In this way, the tension between experience, form, and meaning remains open.

Currently a PhD student in Contemporary Art at the University of Coimbra’s College of Arts (see related academic context at Motel Coimbra: https://motelcoimbra.pt ), he is developing a research project entitled ‘Research on the Invisible of Practice: Habit, Repetition and Variation – From the Memory of Objects to the Memory of the Body’. The project brings practical production into dialogue with theoretical reflection, exploring the immaterial dimensions of the artistic process through philosophy and visual experimentation in photography and video.

He holds a degree in Art History from the Faculty of Arts and Humanities of the University of Coimbra and a master’s degree in Curatorial Studies from the College of Arts. His master’s dissertation focused on the reception of artworks through photography, a concern that continues to inform his artistic, curatorial, and research practice.

She has training in complementary areas, including photography and video. She participated in the Cinemalogy - From Idea to Film course, promoted by Caminhos do Cinema Português, where she took modules in Photography, Sound Direction, Editing, Sound Editing, and Title Design. This experience consolidates an approach that integrates technical knowledge with a post-conceptual approach.

He is a certified photography trainer accredited by the Institute for Employment and Vocational Training.

He has extensive professional experience in photography, with work published in magazines, books, exhibition catalogues, editorial materials, and digital platforms. He has presented his work in solo and group exhibitions in both institutional and independent contexts, including the exhibition project “Bedside Flowers” and extensive photographic documentation of other artists’ exhibitions developed within the College of Arts exhibition programme (https://colegiodasartesexposicoes.pt).
Among his most significant publications are those featured in books by the Swiss publisher AVA Publishing SA, the German publisher Hueber Verlag, GEO, and UpwÄrts. Very recently, he published photographs in the catalogues of the exhibitions “The Uncertain Drawing,” a curatorial project by José Maçãs de Carvalho, “In the Dream of the Man Who Dreamed, the Dreamed Awakened,” a project coordinated by Ana Rito, and “A Whole Life” by Nuno Sousa Vieira. His work also appears in the book “Immagini letterarie e iconografia nelle opere di Plutarco” Università Degli Studi di Salerno, edited by S. Amendola, G. Pace and P. Volpe Cacciatore, at Umbigo e Contemporânea, in the book “In the Shadow of the Black Square”, Colégio das Artes, among other publications produced by the University's College of Arts.

His primary interest lies in the processes of documenting and disseminating artworks through photography. His practice begins with close attention to the conditions of image production, preserving the documentary function of the photograph while rejecting a strictly technical neutrality. Many of these works, produced within exhibition spaces, develop through close dialogue with the artists whose exhibitions he photographs, integrating listening and interpretation as part of the process. Through careful modulation of light and spatial relationships, he produces images in which the act of documentation expands into a perceptual and interpretative dimension, situated between factual record and sensorial experience.

Beyond exhibition spaces, his practice extends to landscape and territory as fields of lived experience. Travel plays a central role here as a method of visual investigation, allowing him not only to find new places but also to discover different ways of observing and photographing them. In this sense, his work aligns with contemporary approaches such as subjective documentary—where documentary recording coexists with a personal and interpretative dimension close to post-conceptualism—and with a practice informed by the phenomenology of the image, which places perception, duration, and the relationship between body and place at the heart of the artistic process. In this way, the territory ceases to function as a backdrop and begins to emerge as a space of tension between materiality, memory, and experience.

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