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Painting is silent poetry, and poetry is painting that speaks. Simonides

CARLOS DUGOS

Carlos Dugos














Carlos Dugos was born in Lisbon in 1942. His first works date back to 1957, yet, one year later, he moved to Lorenzo Marques, then the Capital of Mozambique, where he attended an Art School - under the guidance of the painter João Ayres – and had the opportunity to work with Malangatana, José Júlio, Álvaro Passos and a few other Mozambican artists.

His first individual and group exhibitions where held in Lorenzo Marques and Johannesburg.

Back to Portugal in 1967, Carlos Dugos settled in Lisbon and committed himself to the improvement of oil painting techniques.

In 1974-75 he travelled around Europe; after a period in Zurich, in Madrid he enjoyed the contact with several artists and a good number of Art Galleries and Museums.

Again in Portugal, he spent long periods in Sintra and Ericeira, developing a deep study on symbolism and on the esoteric tradition, as reflected in his first works of “metaphysical” inspiration.

In 1977 he returned to Lisbon and carried on with his studies on symbolism as the spiritual language par excelence. To achieve his aim, he attended a course on theology organised by the “Leoninum Orthodoxum Institutum”, sponsored by Sorbonne, while, simultaneously he developed a long workshop practice, which works have never been exhibited as he considers them to be purely experimental. In one of his notes, in 1980, he wrote: “In Art, an idea - and the feeling that idea is related to - needs an appropriate plastic language in order to be able to express itself properly. The search for that language is constant in me. Exhibiting means having a coherent, articulate and mastered way of communicating. If you accept a public responsibility, you must possess the means to accomplish it.”

Such a responsibility was taken in 1984, when, invited by Arcano XXI Gallery, he took part in a group exhibition with eight canvases of his.

In that same year he became the director of a new art gallery - S. Bento – where he got in charge of a cultural development.

In 1988 he was invited to keep a temporary “studio” in Palácio da Pena. This was a major experience, as this palace, built in the 19th century by the Austrian Prince Ferdinand of Saxe Coburg Gotta, prince-consort in Portugal through his marriage to the Portuguese Queen, Maria II, is unique in its symbolic architecture. His two-year sojourn in that Wagnerian “eagle’s nest” definitely enriched the metaphysical urge in the painter’s work.

From 1985 he travelled around Europe again - Holland, Spain, Austria and Italy. In this same period he took part in several exhibitions in Lisbon and made a number of serigraphic works.

Carlos Dugos did some chromatic studies for public buildings in Portuguese towns and villages.

His work can be seen in Maputo City Hall, in Caixa Geral de Depósitos (the biggest Portuguese Bank), in the IGAPHE (Institute for the State Housing Property), in some other banks, public institutions, private companies and in numerous Portuguese and foreign private collections.










Roberta Coni


Roberta Coni





















Roberta Coni was born in Rome in 1976, where she lives and works.

She has a Degree in Fine Art, section of Painting. She won the scholarship “Erasmus project” from “Facultad de Bellas Artes Alonso Cano” Granada, Spain and a Grant from Rotary Foundation, at the “Academy of Art University” San Francisco. California.

















"Mi piaci quando taci perché sei come assente
e mi ascolti da lungi,
la mia voce non ti tocca.
Sembra che gli occhi ti sian volati via
e che un bacio
ti abbia chiuso la bocca"

(Pablo Neruda)



Me gustas cuando callas porque estas como ausente,
y me oyes desde lejos, y mi voz no te toca.
Parece que los ojos se te hubieran volado
y parece que un beso te cerrara la boca.

(Pablo Neruda)

I like you when you are quiet because it is as though you are absent,
and you hear me from far away, and my voice does not touch you.
It looks as though your eyes had flown away
and it looks as if a kiss had sealed your mouth.

(Pablo Neruda)

Gosto quando te calas porque estás como ausente,
e me ouves de longe, minha voz não te toca.
Parece que os olhos tivessem de ti voado
e parece que um beijo te fechara a boca.

(Pablo Neruda)
















These are brief gesture of a symbolic trip based on three colors: White, Red and Black. They are used 
in an erotic and alchemical sense. They hint, recall, reveal and conceal meanings of a world that bears witness to another part of us: the Erotic.
That part which is bound to the sphere of instinct, sensuality, pleasure, hidden perversion. This work is the synthesis of more than 100 slides inspired by a collection of poems ''Veinte poemas de amor y una canción desesperada'' (20 Love Poems and a Desperate Song) by the Chilean poet, Pablo Neruda.
From White to Red to Black, these three colors unravel like ribbon...
WHITE as the origin, initiation, flesh and dream, a mother- of-pearl body bathed in sunlight, the white virgin enchantress to burn on the altar. A body made of skin, moss/musk*, milk that is eager and still. a wondrous, fertile and magnetic slave.
It is the "Ericina" Venus where the one put to death is brought back to the continuity of being. It is a violent act like that of a man who denudes the victim he desires and wants to penetrate.
RED is a body which conceals a strong erotic element symbolizes the growing awareness of a body that is changing with no veils to cover, with no shame. ''..So rosy your clarity undressing''. I will see on a branch your hair, your sign that the couple in foliage..." (P.Neruda)
BLACK already possesses the seeds of death. Nocturnal eyes that come to life and die in the body's carnality, in the fleeting shadows of lashes that scent the dusk. A woman long since "complete, apple carnal, thick aroma of sea weeds, mud and light beaten" (P. Neruda)
Burnt candor's shadow. Pale with its dark tresses that rise like pulsing silver of a fish that is smooth and pure...







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