contemporary art gallery
Exhibition Views
Her work is featured in the following collections: Museu do Chiado, Serralves Foundation, Museu de Arte Contemporânea do Funchal, EDP Foundation, Coleção António Cachola and also the Coleção Banco Privado. She received the Prémio União Latina prize in 2001.From the principles of assemblage, intervened appropriation and abstract construction, the artist creates objects that appeal to the careful reading of their own processes, surprise and intrinsic nature. Isolated or conceived for dialogues in the space, they have the presence and the tactile appeal of sculpture, but also the resourcefulness of drawing and the intriguing challenge of their latent symbolic reference.
Cabrita considers it the artist’s purpose to manifest a reality that transports memories, thus keeping those memories alive, repeatedly insisting on the essentiality of memory for our comprehension of the world. He regards architectural structures as memory cast in form, as the embodiment of memory. In this connection he speaks of “aura”, by which he refers to the meaning and signs of the time,interwoven with the architecture and mirroring human coexistence.
Field dominates the vast interior of the church, spreading out, on, and across the central area of the nave. Its expansive, varied topography grounds and holds the floorspace, reinforcing the perception of the volumes above. The sculpture is a form of low-relief, consisting of an indeterminate grid of steel platforms which evoke the passerelle used during acqua alta conditions in the city. Complete within its boundaries, a multitude of uniform LED light tubes burn steadily on these platforms, underneath the occlusion of debris that appears to have rained down from above. The overlaid chaos of the debris field contrasts strongly with the regularity of the lights forming the grid below.
Cabrita considers it the artist’s purpose to manifest a reality that transports memories, thus keeping those memories alive, repeatedly insisting on the essentiality of memory for our comprehension of the world. He regards architectural structures as memory cast in form, as the embodiment of memory. In this connection he speaks of “aura”, by which he refers to the meaning and signs of the time,interwoven with the architecture and mirroring human coexistence.
About
Patrícia Garrido graduated in painting at the Escola Superior de Belas-Artes in Lisbon (ESBAL). She has participated in numerous group exhibitions which include: Mais Tempo, Menos História, Serralves Foundation, Porto (1996); O Império Contra-Ataca, Galeria ZDB, Lisbon (1998); Squatters, Galeria do CRUARB, Porto (2001). Solo exhibitions include: T1, Serralves Foundation, Porto (1998); Móveis ao Cubo, Desenhos ao Acaso, TREM Galeria Municipal de Arte, Faro (2009); Peças Mais ou Menos Recentes, EDP Foundation, Museu Nacional Soares dos Reis and Galeria Fernando Santos, Porto (2013).
Field dominates the vast interior of the church, spreading out, on, and across the central area of the nave. Its expansive, varied topography grounds and holds the floorspace, reinforcing the perception of the volumes above. The sculpture is a form of low-relief, consisting of an indeterminate grid of steel platforms which evoke the passerelle used during acqua alta conditions in the city. Complete within its boundaries, a multitude of uniform LED light tubes burn steadily on these platforms, underneath the occlusion of debris that appears to have rained down from above. The overlaid chaos of the debris field contrasts strongly with the regularity of the lights forming the grid below.
About
About
Field dominates the vast interior of the church, spreading out, on, and across the central area of the nave. Its expansive, varied topography grounds and holds the floorspace, reinforcing the perception of the volumes above. The sculpture is a form of low-relief, consisting of an indeterminate grid of steel platforms which evoke the passerelle used during acqua alta conditions in the city. Complete within its boundaries, a multitude of uniform LED light tubes burn steadily on these platforms, underneath the occlusion of debris that appears to have rained down from above. The overlaid chaos of the debris field contrasts strongly with the regularity of the lights forming the grid below.
Cabrita considers it the artist’s purpose to manifest a reality that transports memories, thus keeping those memories alive, repeatedly insisting on the essentiality of memory for our comprehension of the world. He regards architectural structures as memory cast in form, as the embodiment of memory. In this connection he speaks of “aura”, by which he refers to the meaning and signs of the time,interwoven with the architecture and mirroring human coexistence.
“It’s a hunting thing. You go out in the field, you go through the forest. You listen to all the noises, you get all the smells. You don’t decide it. You don’t plan it. You just know that it will come. You just have to be attentive, ready and prepared. You will know before your intelligent side knows it and then you’ll do the right stroke.”
Pedro Cabrita Reis, Venice 2022
Field
Pedro Cabrita Reis
Opening Reception 21 April / 5 - 8 PM
22 April – 30 Nov 2022
Chiesa di San Fantin, Venice
Exhibition Views
Photographic documentation
“For me, an artwork is a produced reality that focuses the experience of reality as insight”
Pedro Cabrita Reis, Venice 2022