EDUCATION
2010–2012MasterDegre in Product Design(Jewellery Project),ESADMatosinhos(PT) 20 9–2010PostGraduateinJeweleryDesign,ESADMatosinhos(PT)
19 1–19 8ColegeDegre in Communication Design,FBAUP,Porto(PT)
WORKSHOPS
2019MakeMakeMake,with Lisa Walker
2018Objects|Relationships and Hierarchies,with Iris Eichenberg
2017ElectroformingforJewelery,with Gastón Rois
2017PorcelainJewelery,with Trinidad Contreras
2019JapaneseLac,with Sabine Hauss
TEACHING
2017-2019HeadoftheJeweleryDepartment,ESADMatosinhos(PT) 2016-2019Professor,ESADMatosinhos(PT)
tatement
We live in a world where everything seems to be increasingly disposable and replaceable. Fast making, fast wearing, fast discarding. Even relationships drift in these shallow waters, trying to float amongst the huge amount of virtual connections made available by the Internet and fast communication.
Are we sitting ducks in a plastic world? Are relationships nowadays Made In China? Do we live in a counterfeit society? Doesn’t reality sometimes feel like an acid trip?
Project II
RPG Devices
Images subtitles
1 – OMG/WTF | 2019 | Aluminium, plastic, glass tiles
2 – WIP/FML | 2019 | Aluminium, plastic, glass tiles
3 – YOLO/FOMO | 2019 | Aluminium, plastic, glass tiles
4 – ILY/IDK | 2019 | Aluminium, plastic, glass tiles
Statement
This set of pieces was created during the celebration of the Bauhaus Centenary.
The thing that always drawn me to the Bauhaus utopia is that there’s something disturbing in it.
When you think about it, doesn’t the extreme rationality in art and design, the abstraction, geometry, precision, seem to take humanity from life? Doesn’t this perfectly organised environment, where even handmade objects were to be constructed within an industrial idealism, cripple our freedom and turn human beings into some sort of predictable mechanical zombies?
When I started to create these adorning devices, I imagined we lived inside this visually fascist world, so I tried to obey and follow their visual rules – the “futuristic” look of technological efficiency – but I added something subversive, the unavoidable rebellious core of human nature, full of contradictions.
I needed to camouflage the dissident messages under layers of code, trying to make them fit in and pass almost unnoticed. For that purpose, I used internet acronyms and then composed them on the pieces using a 3×3 pixel lettering that keeps it barely readable. These two code systems also place the pieces in our times, in the contemporary context, like an evolution from the origins of the Bauhaus.
The suggestion of a system is hidden in plain view, within the shiny elements, hidden within adornment. The mirror glass tiles are the industrial substitute for precious stones and ironically contain a function. The other materials used are also industrial and function oriented, the aluminium grid attaches the piece to the body and the machine sealed plastic is used here to “set the stones”.
