Pedro Calapez

---

Residencia

---

Profesionales que le han comisariado
Filipa Oliveira en: There is only drawing. Pedro Calapez, 2013
João Pinharanda en: Perto da margem, 2021
João Miguel Fernandes Jorge en: O segredo da sombra, 2016

---

Premios ganados
Prémio Projecto Artístico Destacado - Fundação Millennium bcp
XXII Premio Internacional de Gráfica Máximo Ramos 2012

---

Ferias en las que participa con OBRA
FIG Bilbao 2024
Drawing Room Lisboa 2024
Estampa 2024

---

Galerías y otras organizaciones que le representan

---

Organizaciones con obra

---

Profesionales con obra

---

Etiquetas
Abstracción orgánica  Abstracto  Acrílico  Acuarela  Aluminio  Cartón  Pintura 

Documentos relacionados
Entrevista en 2018
Con una nube en el medio
CV completo


ENLACES OFICIALES
Web 

---

Descripción del Artista

" And there wasn’t anything that wouldn’t be a gaze”(1) I don’t know if everything originates in the gaze. At least my gaze frequently dazzles with unexpected images that in vain I try to engrave in my memory. The remains of those impressions appear in my paintings through my hands. I’m lost, running in circles, trying to organize these countless references. I believe that what I do depends on my gaze and what I achieve in painting is what arises from the contingency of living (what you experience, you may also not experience). The becoming of the gaze, knowing that it continuously balances between seeing and not seeing, explains why reality is so difficult to follow. Painting will always be in the contingency of a gaze, on the (im)possibility of understanding reality. Formal particularities allow the evaluation of different lines of work where painting relates intimately to its support and on the way it’s displayed on the wall. Abstraction is only one of the aspects of these works as the direction of the gaze and the relative position of the viewer to what he is seeing establishes important structural paths. Gesture defines the use of colour but gaze dominates the quest for meaning. Painting makes me a “flâneur” (for its responsiveness to movement, the relaxed gaze, its obsession for exploring reality, the translation to a new reality where time has no meaning) and this practice is what most matters to me. Pedro Calapez, 2015 (1) José Manuel dos Santos, excerpt from the book "Cesariny - em casas como aquela"

---

---

---

---