Wednesday 26 October 2011

Recent works

























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Site specific instalations, 2011, Permanent Marker on Silkpaper
and Glass, view and details of instalation
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Site specific instalations, 2011, Permanent Marker on Silkpaper
and Glass, view and details of instalation
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Site specific instalations, 2011, Permanent Marker on Silkpaper
and Glass, view and details of instalation
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Site specific instalations, 2011, Permanent Marker on Silkpaper
and Glass, view and details of instalation
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Site specific instalations, 2011, Permanent Marker on Silkpaper
and Glass, view and details of instalation
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Wednesday 8 September 2010

Drawings 2010


























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Untitled, 2010, Gouache, Pencil and Permanent Ink on Paper, 38x31cm
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Untitled, 2010, Gouache, Pencil and Permanent Ink on Paper, 38x31cm
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Untitled, 2010, Gouache, Pencil and Permanent Ink on Paper, 38x31cm
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Thursday 15 January 2009

Monday 15 September 2008

Statements


My dinner table drawings are maps of social experiences, and different performances in imaginary times and circunstances.
The words are very much on a survival language in people socializing. Other times, it happens the viewer can follow an entire conversation.
The work is on our language's experience, gesture and body language.

Rosa Almeida
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In Rosa Almeida’s work her aim has been to replace language, making it closer to the way we actually experience it, through thinking, speaking and reading.
In her drawing based work, she uses different media such as site specific installation, light, photography, sculpture and video.
Her writings are not conclusive but fragments, to be edited by the viewer each time he sees it. The language is always in relation with the experience’s layers and space.
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In my video animations, I shoot blow ups of drawings of mine and its presence, as well as the handy camera is very important. The works are an interface of video and drawing.
The video animations are the way the spectator looks at the drawings, from detail to another detail, editing himself the drawing.
The video animations enphasises this editing process, of a fragmented nature, relating to the video process too.

Rosa Almeida
October 2004
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My drawings are to be experienced. They are not to be seen at distance and the detail / spectator’s exchange have a very special role.
The detail is not non relevant, it reflects a perceptive proposal of language in the visual territory, that has been developed in my work since 1995.
As in a book, the spectator relation is a partial experience, non contemplative. Opposite a books’s neutral and abstract space, in my work, the written language in multiple directions is related to the the space experience, in its map quality – the walks lines and dinner table scratches.
In this way the reading is linked to the real experience, even physical, which is reinforced by the superfragmented writting.
In the Photo Drawings, I decided to value this.
They are versions of a spectator involvement with my drawings, pointing out that “…the important is not the images but what one chooses to see on it”.

Rosa Almeida
Dec 03
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Não são para ser vistos ao longe, daí que o pormenor / envolvimento do espectador tenha especial relevância.
O pormenor não é gratuito, reflete a proposta perceptiva da linguagem
no campo visual, que tem acompanhado o meu trabalho desde 1995.
Aparentemente como num livro, o espectador tem que se envolver para ler/ver o trabalho, é uma experiência parcial, não comtemplativa.
Mas ao contrário de um livro, onde o espaço é abstracto e neutro, nos meus trabalhos a linguagem escrita em multiplas direcções, é inseparável
do espaço,vivenciado, na aparencia de mapas, linhas de percursso ou mesas de jantar.
Neste sentido a leitura corresponde a uma experiencia real, fisica até, reforçada pela escrita superfragmentada.
Nos Photo Drawings decidi valorizar isto.
Eles são interpretações da aproximação do espectador ao desenho, apontando que "(...) o mais importante não é a imagem mas aquilo que se escolhe ver nela".**
Se os Desenhos são uma proposta de experiência, os Photo-Drawings são o registo duma experiência.
Neste sentido os Photo-Drawings são trabalhos sobre a visão, o percursso do espectador, que é reforçado na importancia da instalação no espaço, que obriga de novo a um percursso noutro espaço, ampliado.
No sentido da tradição da Fotografia os Photo-Drawings refletem, um passo atrás, a fotografia-documentação da obra, em desenho.
A tensão proposta sobre o original é muito importante nestes trabalhos.

Rosa Almeida
Dez 03
** Nuno Faria, "A Linguagem e o Desenho" in Catálogo Fundación Rei Afonso Henriques, Espanha, 2003
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The Light Drawings, 2003, are as well about the importance of the detail in our perception and memory. Our attention, the light focus on a precise moment
of the drawing. The two elements are strictly connected. The light is a material.
The Light Drawings depend on the space around and are site specific, done directly on the wall. I’ve been doing wall drawings since 1996.
The motion image, video/cinema quality in the Light Drawings is very important.

Rosa Almeida
Dec 03
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Os Light-Drawings dependem do espaço envolvente e são trabalhos site specific, feitos directamente na parede. Eles vêem no seguimento dos meus wall drawings desenvolvidos desde 1996.
Nos Light-Drawings a qualidade de moving image, Video/Cinema no Desenho é muito importante.

Rosa Almeida
Dez 03
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Sunday 14 September 2008

2. Wall Drawings





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Listen, Listen, 2004, Light, Filter and Pencil on Wall, 80cm diameter, Variable Dimensions, Detail of installation at Presenca Gallery, Porto
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Just Kidding, 2003, Light, Filter and Pencil on Wall, 90cm diameter, Variable Dimensions
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Listen, 2005, Light, Filter and Pencil on Wall, 110cm diameter, Variable Dimensions, Installation View at BarLeft, Lisboa
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Silence, 2004, Light, Filter and Pencil on Wall, 90 cm diameter, Variable Dimensions
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Hum Hum, 2004, Light, Filter and Pencil on Wall, 100 cm diameter, Variable Dimensions
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Hum Hum, 2004, Light, Filter and Pencil on Wall, 100 cm diameter, Variable Dimensions
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Light Drawings, 2004, Light, Filter and Pencil on Wall, Installation View at Presenca Gallery, Porto
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It Feels Like, 2004, Light, Filter and Pencil on Wall, 120 cm diameter, Variable Dimensions
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4. Earlier Installations




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What You Feel Is True, 1997, Stillness Tools and Letraset on Wall, 1200x300x1cm, Dimensions Variable, View of Installation at John Weber Gallery, New York
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What You Feel Is True, 1997, Stillness Tools and Letraset on Wall, 1200x300x1cm, Dimensions Variable, Detail of Installation
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What You Feel Is True, 1997, Stillness Tools and Letraset on Wall, 340x300x1cm, Dimensions Variable, View of Installation at Slade School Open Studios, London
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What You Fell Is True, 1997, Detail
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Smoke Gets In Your Eyes, 1996, Ashes, Plastic Paper and Letraset on Wall, 45x120x10cm
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Smoke Gets in Your Eyes, 1996, Detail
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5. Drawings

























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A Bit Noisy, 2003, Gouache, Letraset, Permanent Ink and Pencil on Paper, 100x70cm
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A Bit Noisy, 2003, Detail
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A Bit Noisy, 2003, Detail
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A Bit Noisy, 2003, Detail
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A Bit Noisy, 2003, Detail
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