Artists in Residence
Artists from the Residency Program and the Mentorship program for non residents
"The project "Difícil Poema" has an experimental character and invokes the language of photography and performance.
I am interested in the ontological questions of the image and in the creation of images, without using traditional equipment for photographic capture. My practice is based on the possibility of hybridizing means of creating "cameraless" images with technological devices of production and communication.
I am interested in creating in an intense way, enjoying a deceleration of the outside world, which serves my artistic practice so well."
"During the residency I plan to develop a piece in reaction to the anti-abortion laws implemented around the world.
The aim is to honor the courage of people who have decided to undergo abortion and to refute the recurrent stereotype that pregnancy interruption is an "easy solution".
I believe that political art is the most accessible form of communication to address taboo topics. I intend to create a collection of multimedia sculptures with the goal that women can see themselves in this project, feel represented and respected in their autonomous bodily choices.
This collection intends to counteract the deeply rooted taboos related to abortion, it will be a means of opening up the dialogue about menstrual and reproductive rights."
Considero-me uma artista nómada: Ao mudar-me do Médio Oriente para os EUA e ao viajar muito, fui influenciada pela história, culturas, habitats naturais e métodos únicos de processamento de materiais locais.
O meu trabalho retrata a luta de poder entre as pessoas e o ambiente. “Nature, engineered” é uma série de desenhos e tecelagem de materiais fabricados e naturais em papel artesanal. Utilizo matérias-primas locais - uma flor cultivada em África, componentes eléctricos, algoritmos e sequências de genoma dos EUA - todas tecidas nas fibras naturais do papel. As minhas esculturas combinam Cholla (carcaça de cacto dos desertos do Novo México) e componentes informáticos - todos reintegrados na natureza e recuperados por ela.
...The RAMA Residency provides a unique opportunity for research on the region’s plant life, history and architecture - and the local culture’s holistic relationship with nature.
The project Sem Título brings together a series of small format drawings, the result of a process initiated in an artistic residence at The Beekepers, Castro Marim, in June 2021. These drawings reflect a need to change directions, to change processes and renovate motivations, looking for results in new places. ... a struggle against the obsession with control, in a process that begins with scratching instruments (pencil and pen) and quickly finds a possibility in the stain, where water is in charge. Delegating the decisions of form to the material and living peacefully with that, letting instinct and will determine the course of the work.
In my visual work perpetuates an involvement with daily life and the act of urban areas. In this process of creating from forms, lines and objects found in these places, the memory of the body, the ocasionalities of being a walker and the sensations of the movements originate in my experience a sensibility that is later transposed to two and three-dimensional compositions. In this way, I use a multidisciplinarity of techniques in order to potentiate the procedural references and the matter itself, where an "almost intimate" relationship is proposed between the observer, the work and the space.
"I am interested, therefore, in exploring the idea of landscape as a complete, sensorial experience, as a thing that involves us and of which we are a part, and not as a field of contemplation (despite the fact that the term refers, in its essence, to a thing to be looked at). Also for this reason, the drawings carry with them a strong haptic and atmospheric sense. I am also interested in the idea of drawing as a continuity."
Rita Borralho Silva
"My artistic practice arises from a poetic approach on language, collective memory, sound and symbol, which is revealed in a series of actions, installations, choreographies and performative readings. I like to describe myself as a poet, visual researcher and performer, and my work is usually based on my body, its memory and the various metaphors that arise from reality".
Haile Binns, is a Jamaican American Artist born and raised in New York. She creates art from materials in her intermediate environment. Her art process is a philosophy of transformation by assemblage. She is interested in topics that explore racial and economic difference, gender, and African diaspora. She works largely with a combination of natural and found objects. She transforms her findings into sculptures in map like compositions. During this residency Haile will be exploring themes of water, memory, beauty, and light using handmade paper she creates in the studio.
"While at the RAMA residency, I would like to continue working on a body of work which developed during my Honours year. The project, titled 'To Know Making', is centred on exploring the materiality and beauty of discarded art media. I am aiming to collaborate with other artists at the residency, discussing and researching how each artist makes their work, and what drives their process. I would like to expand on the idea of the artist as being a part of their work, and how the use of movement and gesture informs their process."
EarthR is an artist duo that combines sculpture + painting, ecologies + outsider art, queering art + folk art. We focus on bringing an element of utility to our art practice while having a conversation around usefulness in art. We are attempting to bridge the gap between the long held separation between sculpture and painting. We are looking at the connection between écologie and outsider art while Queering art through folk roots in order to eliminate borders and free up space for new movement.
"As Tangible as Waters Running Through Us and as Possible as Sky" My practices of painting and photography are grounded in walking meditation: paying exquisite attention to sensory information as it arises. These embodied practices are balanced with my study of Buddhist influenced art and neuroscience, and Queer Ecology. I explore links between perception and capacities essential to facing climate and social crises... I hope to explore the environmental and cultural factors that birthed Portugal’s current culture of increasingly equal rights for the LGBTQIA+ community.
Questions about individually and culturally conditioned perception and communication are at the center of my artistic work. In this context I create drawings, objects, installations as well as photographs with painterly interventions. In the approach of photography and painting, I continue the momentary nature of the place in the painterly fiction. José Saramago's book "The Portuguese Journey" inspired me to make my own "image" of the places visited by the traveler in his narrative. I would like to refer artistically to the locations Dois Portos, Sao Quintino, Arruda , Vila Franca de Xira and Torres Vedras, which are in the immediate vicinity of RAMA and are mentioned in Saramagos report of landscape and culture.
"The house as body, the body as house".
Shelters, tents, huts, flats, houses... where there are people, there is the house. Home is so essential to human existence that we could say they are the extension of each other. That separation between these two concepts does not exist. A house is as much bricks and tiles as it is memories and feelings.
My work develops from inspirations that arise from a careful observation of observation of daily life at home and materialises in the use of materials and objects inspired or found in that environment, such as crockery, furniture and tablecloths.
"My paintings have found a constant and underlining subject of humans with color and identity. I prize color for its powerful symbolism and employ it to communicate emotion and mood. My works manifest through human-like figures that are abstract, linear and colorful, created from imagination, experiences, and long periods of reflection. Through imagination, curiosity, and mystery of the past my works transport through the evolution of cultural trends that portray the past as not fixed and unchanged, but connected to the present moment."
Rita de Sá
"Rita de Sá’s obsessively-worked canvases make us reflect on where we stand with contemporary painting, to the extent where it becomes difficult to decide if these are representative, or more akin to abstract expression. This boils down to one of the work’s fundamental qualities: more than represen- ting something, they seem to be the result of some slowed-down movement, a process where forms are encrusted which, taken to the extreme, could be a metaphor for the actual history of painting itself." Celso Martins
Isabel Dantas dos Reis
"...she has developed personal artistic projects, essentially focused on absence and memory. Isabel spent most of the last decade doing investigative work, through experimentation and personal inner growth. To this end, she took up residence in another country, where she made it a point to fully immerse herself with the local communities. She has recently returned to Portugal, where she continues working on memory: both hers and others’. After a period of living and processing experiences, a need for creative action naturally ensues."
Gwendolyn van der Velden
"It takes two perspectives to make a portrait. One side that sees and registers and the other that sees itself being seen. In a process of projection of identity and expectations, the image that reveals itself seems to have two origins. This process and this moment is very interesting to me. Because of its vulnerability and what it exposes, especially in a moment where we grow increasingly desensitized to what the faces of others say to us. I have been thinking and working on the intersectionality of the woman's situation. In the first season I spent in Maceira, the story of the mothers that founded a school made me want to know more and reach out to the people of the community. In that research I registered the portraits of almost everyone in the village. Now I return to elaborate on that research and transform the images of these people into an exhibition experience that will make us question what does a face say in a time where we are losing the ability to recognise humanity in them, when it seems we only see them if we see ourselves in them."
Topics of interest are ecological cycles and networks, notions of succession, symbiosis, entropy, plant intelligence and their applications in bio-mimicry, urban ecology, permaculture, edible gardens, rewilding, fungal and plant based land-remediation; interdisciplinary practices such as technological-transfers and Fab-Lab collaborations; first-culture mythologies and cosmologies such as the Australian Aborigine Dream time; the workings of our inner lives: the subconscious, emotions, memories, sensations and their evolution along with our mental constructs and those eureka! moments of insight. At Rama, I propose to investigate the latter topic through painting and other media.
"With haptic sense, from tactile and kinesthetic stimuli, I investigate spaces of interrelations between body and space, exteriority and interiority, the present and memory. Connections that are generated in the duration of the practice, which is carried out in time which is the present moment, but which is, simultaneously, transitory. Critical of the anthropogenic conduct with which we have been living our relationship with the surrounding environment, my work is aimed at creating new geographies materialized in drawings, objects or moving images. Record or trace that result from the mixture or the "reciprocal penetration" (Emanuele Coccia, 2013) between those dichotomies."
"The sense of body and journey are strongly present in my process: for about a year now the act of regular walking has taken root, which allows me to explore diverse places, landscapes and movements. The action of walking and the topography influence the connection between the Being and the Place, the occasionalities of the walker being and the sharing inherent to the places frequented by those who describe them are part and enrich this experience. Each territory, given its different types (natural or urban) requires specific and diverse attention. This attention contains in itself a discovery and potentiates a look which is very close to the child's look on the world, due to the novelty and availability eminent in walking and in the impressions that are left of it."
Silvana Mammone is a director, writer and vocal artist with a background in comparative literature and contemporary dance. Her current medial focus lies with various models of immersive art and art in public, in which sound and voice play a key role. Her latest project has been an immersive soundwalk in a botanical garden about plant intelligence and communication that close to five hundred people came to experience. She has also studied and practiced various awareness and meditation techniques to include them in her artistic practice and methodology. She is driven by questions revolving around the biological, philosophical and cultural notions and views regarding the mind/body distinction within western culture. She strives to create art that diversely addresses our human longing for connection and often does so by nourishing and mingling artistic and scientific curiosity alike.
Multi-disciplinary urbanist, anthropologist, and photographer who set on a journey in the last few years to explore alternative ways of living. In my journey I touch many life realms and a wide spectrum of perspective to reach a deeper understanding of life on this planet. My latest thought-provoking exhibition - "Home - Between a Shelter and a Cage", have emerged from the stories of unique characters I met and the wisdom of modern philosophers and is my firstmajor step as an artist and curator.
Venla Helenius (she/her 1989) is a visual artist who lives and works in Helsinki and Berlin. Helenius works with video, photography and installation in the context of contemporary art. Her works take the form of audiovisual installation in which she examines humanity as part of wider ecological and cultural continuities. Helenius' works have been presented in the contexts of galleries, museums and performing art venues in Finland and elsewhere in Europe. Her works often have a site sensitive premise, and the narration of the works combines her interest in combining fictional and documentary narrating. At the moment she concentrates on finding ways of metafictional storytelling. She is interested in processes of fiction making and active imagination. Essential questions for her work are: What kind of bodies and forms of being does our imagination bend? What ethical relationships do we form with these fantasies?
Ana Luísa Ribeiro
"… A remarkable feature in Ana Luísa Ribeiro’s method is her work on the way we read and see images, recording the underlining and marginalia readers (or is it herself?) create as a sign of particular interest in a work and its contents.
Even as we are irresistibly drawn towards these paintings by their chromatic harmony and the intellectual fascination, we feel for the pieces they reference, the fact that the painter only depicts fragments (of images and printed or handwritten texts) indicates the playful distancing she wants to bring into her work. We are never looking at straightforward images, but rather at second- and third-degree readings of them."
João Pinharanda in “Marginalia”, exhibition catalogue, Lisbon 2012
"What I seek, in this residency, is through a return to drawing, filming, and photographic recording, using "on the ground" interventions that allow me to get my hands on the land and water, and collecting anthropological content, to find a methodology for the elaboration of a long-term work work dedicated to water. This work is always intended to be based on the collection of water and soil and soil samples from the sites I will visit throughout my life, and the methodology is intended to achieve a way to synthesize way to synthesize, or process, or present, the phenomenology of place, the biological content of the samples and anthropological aspects researched, discovered, observed."
Beatriz Neves Fernandes
"Water is an integral part of my artistic imaginary,..., a multimedia body of work focused not only on the aesthetic qualities of this element, among which transparency and fluidity, but also focused on the intention of establishing a pictorial-metaphorical register of the process of artistic creation of artistic creation, which I understand as an aquatic journey of osmosis from the inside to the exterior, the transport of the idea into matter through the creative impulse. The water as a primordial flow of creation and fertility, a means of transport of nutrients and ideas that build on matter, from the soil to the work of art."
"Water has brought people together since the beginning of humanity (...). Water is connection. Connection. Communication. Continuity. Community. It is a map, a network that sustains everything, that holds and connects the world, that links continents and consequently, people. And springs, more than water, bring people. (...) Water is a malleable matter with symbolic meaning... its manipulation, transformation (...) and the final production of sculptures and installations with the objective of (...) Putting in evidence, in an artistic and poetic way, these same connections that otherwise would be invisible and abstract".
Ângela Dias e Maria João Gromicho
"Passing the project "Raíz Solar" through the environment and context provided by RAMA-Residências Artísticas, we intend to deepen our practice, confront our purpose on the look, appreciation, accompaniment and challenges of the Residency, to reach new paths... This project made by two people intends to build an exhibition of drawing and painting around a certain meaning of the sense of Life. A sense of Human Life with its interactions with natural, animal, social and affective life in its personal and universal world."
My practise is site specific, I let the environment inform the process which becomes the work. For the residency I would like to spend the first 5 days in the landscape, during which time I will investigate the local conditions - climate, geology and plant life. I will record my observations, and then spend some days processing my findings in the studio during which time I would welcome insights. Given the setting, I imagine that a lot of the work will be made in collaboration with the surrounding, I look forward to the possibility of developing a pigment unique to RAMA.
Gwendolyn van der Velden
"In this residency I’m developing, how to present a work of my ongoing collection of conversations about women and their experiences on intersectionality, the patterns and their geographical, social, cultural and historical relations. By inviting them to be portrayed and to record our conversations and inviting them to become part of a visually registration of the multiple patterns that concern the intersectionality of women.
The idea is to place this process in the context of 3 performances, using the workspace, to be an experimental stage, where I can develop a powerful visual statement.
The 10 th , 24th and the 31 of October are days for visualising the performance in progress, which may be attended and participated by public, by invitation and by a signing up."
Through research on the dialogue between man, nature, technology and the “New Normality”, I come to re-establish a journey of cultural affections and disaffections between two cultures, Brazil and Portugal, countries that are linked by a long history of relationships and cultural shocks. I intend to promote and question the best of this long and necessary exchange, being a spokesperson for cultural miscegenation and an ancestry almost extinct by the dream of distorted progress
“Connectedness”... being in nature is essential for me. More in particular, being at the Atlantic coast, my living and working area. The cliffs, beaches, sea, wind, sun. Feeling and enjoying the power of the elements, the connection with nature. Letting go of rational thinking. Finding balance, harmony and rhythm. In my paintings I pursue to communicate these experiences and sensations through simplification, organic abstractions, colors, materials. I recently started to experiment with mineral pigments collected from the cliffs at the beach, and other natural materials, to deepen the possibilities of painting."
"Through ceramics, drawing, photography and performance, I intend to continue this exploration of Being, of myself, of what it means to exist in its most basic state. Counting on contact with other artists, I believe it will be extremely beneficial to be a part of of an inter-growth experience, taking the opportunity to get to know a village where nature continues to be the point of greatest prominence and admiration, thus also having the possibility of meeting people who live daily with this environment... during my time in RAMA I intend to develop a work that has the freedom to develop myself simultaneously."
"...all my work is based on a deep connection with nature, flourishing from fieldwork and interaction with it, from the observation of its growth cycles and the passage of time on organic forms. I seek to explore the dynamics of various materials such as lichens, fungi, water, fire, smoke and light, working alongside with video and sound capture instruments in order to be able to absorb part of this organic essence and transport it into the interior of the exhibition space, creating more engaging pieces that stimulate different senses."
"the light that transforms it into a theatre of beings, totemic or anthropomorphic at times, that appear with a density, a weight, a threat that its structure and material constitution denies, but that the look and the imagination connected to it confirms".
José Luís Porfírio
"... I intend to go to the essence, to slow down, to listen, to feel, to work TIME in another way involving myself as much as possible with NATURE and its rhythms ... I intend to use my BODY and the space that surrounds it , as well as the MOVEMENT of one and the other, for a plastic exploration, to create IMAGES, videos. Body and nature in motion, in time. Or is it the movement of time in the body and in nature? "
“Hauntology & Ephemera(l) Saudades: A Transmedia Poetic of the Archive,” a transdisciplinary artistic project that explores the influences of Po.Ex, with special regard for their history of integration and synthesis of visuality with the poetic. The radical experimentation and boundarylessness of their artistic approaches inspire my own. As an artist, I am also interested in the bricoleur approach defined by Jacques Derrida where every tool is a potential ally in the creative act. My experiments with various media and my ambition to transcend and blur boundaries where expressively relevant are a central part of my practice."
David Correia Gonçalves
"...I seek a space to focus. Concentrate. A place that instead of receiving, or imposing images created by someone - posters, advertising, traffic lights with facades as background, I can relate to the most natural, the least touched. The stones, the frost, the night, not having to climb stairs or take advantage of lifts to move vertically. Time. What will leave here? From these dynamics concentrated in space and time ? Good things have no name. "
"...sharing knowledge between artists will be essential, and what I can also contribute to this community, to structure and develop new ideas, to shape the material for new projects and enable the act of creating..."
I intend to continue exploring my installation work, creating a mural and performance in conversation with the local environment, a collaborative project in which my co-creators are nonhuman. Gathering water from local sources will contextualise the mural in its local resources. This will be an investigation of the intersection of the water with which I print, my body, and human communities. At RAMA I am particularly interested in being located in the countryside, so close to nature, yet working within the walls of human construction. I seek to explore this border of human settlement and nature, this ecotone, in hopes of informing the narrative with which we can move into the future.
"...continue the work, related to collage, drawing, impermanence of the exhibition. Concentration (immersion), decision, economy of gesture, are other subjects that I value and I want to continue working. In this time of residence I try to deepen the ability to listen ...make it more and more ...precise. I also hope that this reflection - training - will bring us all new impressions in sharing with other artists, curators, RAMA collaborators and the local community. The place, the silence and the surrounding nature of Maceira transmit me quietness to work".
I am currently working with some photographs of the Aqueduto das Águas Livres taken by Diogo Saldanha because I think they convey something special, almost sacred about the hidden insides of these structures built for no grandiose purpose but to transport water through the landscape. There is something bodily about how the architecture moves water which sustains life and I would like to use this to explore how we in turn connect to the landscape.
"Through a reflection on painting in a broader perspective, including pictorial installation and, in it, physical phenomena such as shadows and reflections, I’m investigating the dimensions of life / death / sacred / memory through the rhetoric of the double, and their experience in the contemporary context. During my residency at RAMA, I intend to deepen these aspects in the local dimension, through a specific research on the region’s museology and history. "
Diogo Magro Viegas
“My work consists in recreating natural or manufactured objects, providing concepts of appropriation of elements that we consider an exception to our practices, whose toxic and prone to oppressive approach reveals a feeling of strangeness and disconnection in our habitat. In RAMA project, I intend to integrate myself in a more environmental context, using my coexistence with an unknown territory, which may result in different ways of acting and thinking. ”
"I see nature as a home, a single being, a unity, indivisible, ... in RAMA, with the territory understood as nature, craftsmen and farmers, to be able to develop and create materials such as paints and coal and other natural products derived from the agricultural process that can be reused in pictorial research"