Vaigotas, 2023

Blank page. Pigment, paper-tape and photocopies on paper with incisions, 120 x 122 cm. Photograph by Filipe Braga.
Lost Renassaince I. Acrylic, oil, pastel, oil bar, graphite, paper cutouts, cardboard and tracing paper on paper, 122 x 122 cm. Photograph by Filipe Braga.
Antidepressivos I, Oil, pastel, photocopies, paper-tape and tracing paper on paper, 61 x 60 cm. Photograph by Filipe Braga.
Creche, Pigment, graphite, oil, photocopies, paper-tape and tracing paper on paper, 70 x 70cm. Photograph by Filipe Braga.
Acho isso estranhíssimo, deves ter percebido mal II, 2023 Oil, photocopies, paper-tape and tracing paper on canvas and geo-cement, 67 x 54cm
Vaigotas I, oil, acrylic gesso, photocopies on gloss paper, 81 x 50cm
Vaigotas II, oil, acrylic gesso, photocopies on gloss paper, 82 x 51cm
Lost Rennassaince II. Acrylic, oil, pastel, oil bar, graphite, paper cutouts, cardboard and tracing paper on paper, 122 x 122 cm. Photograph by Filipe Braga.
Diálogo aberto, acrylic, oil, pastel, indian ink, paper-tape, tracing paper, duplex cardboard on paper, 150 x 170 cm. Photograph by Filipe Braga.
Blank page II. Pigment, paper-tape and photocopies on paper with incisions, 100 x 70 cm. Photograph by Filipe Braga.
Retrato de escola III, oil, pastel, paper-tape and tracing paper on paper, 36 x 31cm. Photograph by Filipe Braga.
Retrato de escola II, oil, pastel, paper-tape and tracing paper on paper, 36 x 31cm. Photograph by Filipe Braga.
Retrato de escola I, oil, pastel, paper-tape and tracing paper on paper, 36 x 31cm. Photograph by Filipe Braga.
As palavras I, Graphite, paper cutouts, cardboard comic books' cutouts and photocopies on paper, 51 x 44cm
As palavras II, Graphite, cardboard and comic books' cutouts, paper-tape and photocopies on paper, 28 x 22 cm
Blank page
Lost Renassaince I
Antidepressivos I
Creche
Acho isso estranhíssimo, deves ter percebido mal II
Vaigotas I
Vaigotas II
Lost Rennassaince II
Diálogo aberto
Blank page II
Retrato de escola III
Retrato de escola II
Retrato de escola I
As palavras I
As palavras II
 
Blank page
Blank page
Lost Renassaince I
Lost Renassaince I
Antidepressivos I
Antidepressivos I
Creche
Creche
Acho isso estranhíssimo, deves ter percebido mal II
Acho isso estranhíssimo, deves ter percebido mal II
Vaigotas I
Vaigotas I
Vaigotas II
Vaigotas II
Lost Rennassaince II
Lost Rennassaince II
Diálogo aberto
Diálogo aberto
Blank page II
Blank page II
Retrato de escola III
Retrato de escola III
Retrato de escola II
Retrato de escola II
Retrato de escola I
Retrato de escola I
As palavras I
As palavras I
As palavras II
As palavras II
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Vaigotas is a word coined by my two-year-old daughter, Maria, used as a noun to name what the rest of us will call seagulls. Nothing new – an exchange of letters identical to so many others made by babies of the same age – and yet so full of intention.

The term “vaigotas” – like “gaivotas” (seagulls) – is a sound, with a written correspondence, intended to indicate certain seaside birds. However, the term “vaigotas” – like seagulls – has nothing objective about it, and its relation to the animal in question is just as valid in one case or another, as is the term “seagul”, “geasul” or “knee”. And yet, there isn’t a bird that passes by that doesn’t deserve a sharp point of the finger, followed by the vocative “vaigota”. Who am I to say that’s not a “vaigota” but rather a “gaivota”? Where do I get the certainty or authority to justify Maria’s correction? If she has so many certainties – and I have so many doubts – why can’t I adapt?

The question raised seems like a frivolous invitation to anarchy, but it is also, however, a alert to the lightness of our institutions: can’t those be “vaigotas”? Couldn’t we eat with our hands? Why do we wear clothes and why can’t we have everything we want?

The same applies to representations. What makes a simple elongated M less of a seagull than a naturalistic drawing? If this animal is caricatured and wears a hat on its head, will it be now something else or a seagull with a hat? How can we conceive of a seagull with a hat if we’ve never seen one?

From this reflection began the series of works that, following the usual modus operandi and formats, plays with these variants, proposing compositions that range from almost scientific representations to the most analytical, almost erroneous, proposals, covered in abstract or translucent layers that reinforce the shared fragility of words and images.