Cristina Rodrigues

---

Residencia

---

Profesionales que le han comisariado
Tara Aghdashloo en: Retrospectiva, 2017

---

Premios ganados
12° Premio Arte Laguna - 12th Arte Laguna Art Prize 17.18

---

Ferias en las que participa con OBRA
S.A.CO II Feria de Arte Contemporáneo de Sevilla

---

Galerías y otras organizaciones que le representan

---

Organizaciones con obra

---

Etiquetas
Acrílico  Arte contemporáneo  Arte digital  Diseño  Escultura  Experimental  Expresionismo  Hierro  Instalación  Neoexpresionismo  Pintura  Textil 

ENLACES OFICIALES
Web  Facebook  Twitter  Instagram  Linkedin 

---

Descripción del Artista

BIOGRAPHICAL NOTE Portuguese artist Cristina Rodrigues was born in 1980 in Porto, where she studied and began her professional career as an architect. In 2009 she moved to Manchester, United Kingdom, where she lectured at university, developed her doctoral research and started her career as an artist, which would later return her to her home country. Cristina holds a PhD in Art & Design from Manchester School of Art (2016), an M.Phil. in Medieval and Renaissance History from the University of Porto (2007) and a Honours Degree in Architecture from Lusíada University (2004). Her artwork has been exhibited internationally, in Portugal, Spain, England, China, Japan, Sri Lanka and Brazil, with several solo exhibitions. Many of Cristina’s works have been acquired for the art collections of museums and public entities. ARTIST STATEMENT In the beginning of my career I was trained as an architect in the city of Porto, Portugal. The Portuguese school of architecture follows the great master Álvaro Siza Vieira, who established that before acting on a landscape an architect should study and understand the memory of that particular place. I started my artistic career photographing abandoned buildings in the depopulated rural Portugal and, subsequently, the few elder people that still remained in those forgotten places. Then I started collecting objects, learning the local crafts and devoting my artistic practice to retaining the pilgrimage of the memory – reminiscences from places and people I encountered during my own journey. My academic background demands me to create an inventory of recollections from the 21st century but it is my training in architecture that allows me to connect components such as drawings, embroideries, personal objects, metal and ceramics, as part of a larger narrative to share my experience in large installations, sculptures and paintings.

---

---