3 x 3 - a solo exhibition by Laura Andrade 27 Dec - 4 March 2020

"O Teatro Deste Lugar Não Tem Chão" by Carla Cabral 25 October - 24 December 2019

 

25 October - 24 December 2019 

"Girls with Guns Series" by Karen Bradtke 15 September - 2 March 2020

Girls with Guns Series

by Karen Bradtke

 

These works and others like them were created for a group exhibition titled Pulp Fiction in Durban, South Africa in 2015. Some of the works were sold so they have been replaced.

While reading up on what ‘pulp fiction’ I found this image from The Tin Ear and it inspired me to look for images of tough women characters from films who were holding guns. They are images taken from the Internet of actresses like Joan Crawford, Natalie Wood, Peggy Stewart, and Jane Mansfield. The text was found by Googling quotes from film said by women. I then matched the quotes to the images using Photoshop.

KB: September 2019 

"O Zodíaco" - Magda Nunes 17 julho - 13 setembro 2019

"O Zodíaco"

"Balança" (Libra)

17 julho - 17 agosto 2019

Magda Nunes apresenta a sua obra, uma recriação das figuras que identificam os signos do zodíaco. A composição gráfica tem como inspiração o bordado Madeira, típico da ilha, onde se enfatiza as suas formas e texturas recorrendo aos elementos vegetais e florais, específicos das peças artesanais, que possuem uma história e tradição. São representados vários pontos do bordado, evidenciando-se os caseados que contornam os corpos e preenchem os fundos. Este trabalho homenageia uma das heranças do povo Madeirense, o bordado Madeira e explora a técnica da pirografia.

 

"Adelina e eu" by Maria Ângela Franco 14 June - extended until 31 August 2019

"Adelina e eu"

Maria Ângela Franco

14 June – extended until 31 August

 

Watercolour on paper   

About my work:

The set of works on display is based on the practice of registration on paper.
I focus on the technique of watercolor, but I explore transparencies, materialities and expressions with other techniques: drawing, collage and embroidery. I integrate several elements according to their visual strength (line, texture, matter) and transform the support in space to tell stories that are built with lines and dots, rhythms and movements. Paper becomes the place of gesture and heart. And so the affections take shape and a universe of emotions is born in the interaction of several elements: water-color-paper-air-lines-fabrics.

"Adelina and I" is the name of the exhibition. Adeline, it's my mother. I'm me.
In other words, the world you gave me, Mother!

Affordable Art in Loja 05

Bettina Radatz small ink drawings

FUNCHAL Street photography

by João Evangelista

Limited edition of 30 and signed by the author

These books are sold exclusively here in RESTOCK gallery.

Eva Askulv poster of Madeira

Affordable

Art

All for | Todos €50 or less

"House is NOT Home" by Andorinha 5 April - 11 June 2019

Falar em profundidade sobre a distância poderia consistir numa tarefa muito complexa e morosa, mas é sabido que vários artistas trabalharam e continuam a trabalhar acerca deste tema. Talvez a construção de imagens consista num meio tão eficaz como a linguagem para explorar esta ideia.
Refletir sobre a noção de distância, por palavras ou através de imagens, pode servir para compreender o que significa a proximidade e isso implica necessariamente colocar em perspetiva a distância física e a distância emocional.

A minha proposta para a residência artística que realizei em Salzamt, na cidade austríaca de Linz, nasceu de uma necessidade de deixar o meu lugar para poder criar mais e melhor. Esta é uma necessidade que sinto em vários momentos, que sinto esporadicamente, como se de um ímpeto se tratasse. 

"É preciso sair da ilha para ver a ilha, não nos vemos se não saímos de nós" (José Saramago).

Na verdade, não poderia ter concretizado a viagem à Áustria num momento melhor. Passei o mês de Dezembro em Linz, um período em que todos se reúnem e em que todos se reencontram, uma época em que quase todos regressam a suas casas para passar as férias de Natal e estar em contacto estreito com a família.
Foi nesse contexto, distante de casa, que comecei a questionar a noção de "lar", partindo até do simples facto de ter sido capaz de me sentir “em casa” na casa onde vivi durante aquele mês de inverno. 

O que é realmente a nossa casa e o que é que isso significa?

De onde vem e em que é que consiste a sensação de “casa” que somos capazes de construir, mesmo em lugares distantes dos nossos lugares?

Speaking in depth about distance could be a very complex and time-consuming task, but it is well known that a number of artists have worked and continue to work on this subject. Perhaps the construction of images consists of a medium as effective as language to explore this idea. Reflecting on the notion of distance, in words or through images, can serve to understand what proximity means, and this necessarily entails looking at physical distance and emotional distance.

My proposal for the artistic residency that I held in Salzamt, in the Austrian city of Linz, was born of a need to leave my place in order to create more and better. This is a need I feel at various moments, which I feel sporadically, as if from an impetus.

"It is necessary to leave the island to see the island, we do not see each other if we do not leave" (José Saramago).

In fact, I could not have made the trip to Austria at a better time. I spent the month of December in Linz, a time when everyone meets and meets everyone, a time when almost everyone returns to their homes to spend Christmas holidays and be in close contact with the family. It was in this context, far from home, that I began to question the notion of ‘home’ starting even from the simple fact that I was able to feel ‘at home’ in the house where I lived during that winter month.

What is really our home and what does it mean?

Where does the sense of ‘home’ that we are able to construct come from, even in places far from our place?

Our new mural is ready for business!

Hana has finished the mural and Claus was our first tester!

Come and try for yourselves!

Life is a Portrait

painting by Alex Hamilton

I I I by Miguel Leitão Jardim

I I

I

“The conscience is the last phase of the evolution of the organic system, by consequence, it is also what is less finished and less strong in this system.” [1]

The 3, say the Chinese, is a perfect number, the expression of totality, of conclusion: nothing can be added to it. “The fundamental reason of this ternary universal phenomena must be undoubtly searched within a metaphisic of the composed and contingent being, in a global vision of unity-complexity of all beings in nature, and that is summarized in the three phases of existence: birth, growth, death.” [2] This phenomena also derives from the mathematical representation of the concept of the reproduction of species: 1 + 1 = 3.

Three series of nine photographs each are presented, around the question of individual conscience:

1. From the lights of which life is made of and the objects that they lit in a certain way. What are they? Illusions? Revelations? Access doors to enlightenment?

2. The body is finite. Is there an equal path to conscience? Does it access to enlightenment ou just simply renews itself?

3. The conscience contemplates the ideas, as thought by Plato, returns to its essence, melting with the most infinate particles of the Universe? And how does one photograph conscience?

Miguel Leitão Jardim, 2018.

---

[1]

Friedrich Nietzsche in “The Gay Science”, 1996, p. 47, Guimarães Editors.

[2]

in “Dictionary of the Symbols”, J. Chevalier and A. Gheerbrant, 1997, pp. 654-657, ed. Reader’s Circle.

Series II

1 Feburary - 28 March 2019

Paintings by Tatyana Abramova in Loja 2 18 - 28 March only

Abramova is constantly reinventing her work, crystallising her artistic style. She finds inspiration in the works of Abstract Expressionism, Russian Avant-Garde, Suprematism. Rethinking suprematist compositions, Abramova aims to express her ideas about landscape through simple local shapes and vivid colour pallet. Abramova is influenced by contemporary minimalism that emerges from the clash of local composition and complex colour, opening new possibilities for interpretation. In her compositions, Tatiana looks for details, trying to define a figure, landscape, still life, through the nuances of lines between lightness and darkness. The artist works fast and impulsively, surrendering to the moment. Abramova enjoys experimenting, absorbing new ideas, new people and places that influence her work. Bold and very individual combination and colours, directly continuing and developing the ideas of such masters as Mondrian, Kandinsky, Malevich, Klee and Diebenkorn, make her work merit close attention. Tatyana Abramova was born in 1982 in Kazan, Russia. In 1999 – 2005 Abramova studied Architectural Environmental Design at Kazan Architectural and Building University. It was here that she was first introduced to architectural planning, composition, fine art and sculpture. She became more and more interested in painting, which was the first step towards her career as an artist. After graduating Abramova worked in architecture planning, interior design and graphic design. She pursued her own creative work, and gradually it became her main occupation. She had her first solo exhibition in 2013 in Moscow, followed by several shows in St Petesburg, Russia, and Germany. Tatiana works in the genre of abstracted landscape, she uses mainly oils. She also experiments with watercolour. Abramova’s work is in private collections in Russia, Europe and North America.

Education:

In 1999 – 2005 studied Architectural Environmental Design at Kazan Architectural and Building University.

Exhibitions:

A participant of the Fourth Edition of the prestigious 'Royal Arts Prize Exhibition 2017' at La Galleria Pall Mall, London.

Source: https://www.saatchiart.com/emotional_memory