Titan's heart - The process

de 7 a 13 de Junho

Titan's heart - The process

de 1 a 6 de Junho

Titan's heart - The process

de 19 a 31 de Maio

Titan's heart

You may have noticed that I’ve been working on the concept of the heart as a representation of the human condition in its various forms, in my view what could be more appropriate?

I had this big red rock and made plans to make a heart and call it Titan’s heart but I decided to make some smaller versions first with the same type of stone and on wood, then I got an invitation to make something for the Public Art exhibition that takes place every year in Sintra, since the work must have appropriate dimensions to be on the street I thought the time was right to go for it.

de 13 a 17 de Maio

Titan’s heart

de  5 a 12 de Maio

Titan's heart

De 2 a 5 de Maio

Titan's heart

Titan’s heart | Coração de Titã

Today I’m starting to post a photo sequence of the piece I’m making now.
Começo hoje a publicar a sequência de imagens da peça que estou a fazer agora.

Os eunucos

Os eunucos devoram-se a si mesmos
Não mudam de uniforme, são venais
E quando os mais são feitos em torresmos
Defendem os tiranos contra os pais

Em tudo são verdugos mais ou menos
No jardim dos haréns os principais
E quando os mais são feitos em torresmos
Não matam os tiranos pedem mais

Suportam toda a dor na calmaria
Da olímpica visão dos samurais
Havia um dono a mais na satrapia
Mas foi lançado à cova dos chacais

Em vénias malabares à luz do dia
Lambuzam da saliva os maiorais
E quando os mais são feitos em fatias
Não matam os tiranos pedem mais.


“Os eunucos” – José Afonso

One Art

The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster,
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother's watch. And look! my last, or
next-to-last, of three beloved houses went.
The art of losing isn't hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.
-- Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) a disaster.


Elizabeth Bishop

My heart is broken

I’m making another heart, for the next month annual exhibition in Sintra.
No photos yet, I want it to be a surprise.
This afternoon I broke the terracotta model in a clumsy move.
I’ll peak up the pieces and repair it. Tomorrow it will be good to go, I hope.

Human Resources

Human Resources

Documentary

Artemis and Spyros

Artemis and Spyros, two Greek students, from the island of Crete, came to visit the Sculpture Center and my studio. He plays the violin and other strings instruments and she makes little pieces of jewelry of great sensitivity and beauty,
with found seeds, twigs and strings.
Their visit was the highlight of my day, otherwise filled of hard work and stone dust.
Thank you, Artemis and Spyros for filing this day with beauty and lighthearted joy.

Again: The Heart

Convite

"Nothing is lost, nothing is created, everything is transformed." Lavoisier

Wooden heart

Still in progress - The Heart

First the heart of stone, the realistic heart; one that comes from our insides and one that seems so natural.
Now, the wooden heart, the one that depicts nature, beaten, broken, rotten, exhibiting all the marks of decay.

Primeiro o coração de pedra, o coração realista; o que vem das nossas entranhas e que parece tão natural.

Agora, o coração de madeira, o que retrata a natureza, batido, quebrado, podre, exibindo todos os sinais de decadência.

Agostinho da Silva

I miss the future and

Agostinho da Silva, a great Portuguese Philosopher, whose ideas unsettle and shake the consciences of those reluctant to contemplate new ideas and ideals. A visionary with an eye on the future, which I miss.
 

 

Agostinho da Silva, grande filosofo Português, cujas ideias abalam e abalarão muitas consciências mais renitentes à contemplação de novas ideias e ideais. Um visionário com óculos próprios para ver um futuro, do qual eu tenho saudade.

The Heart

Heart and kidneys and other internal organs are disgusting. The common person flinches at their sight. This has always intrigued me and I’ve often wondered why do we feel so repulsed by the organs that are vital to our existence? Is it because we can’t stand to look at our inner selves? Is it, that an organ exposed like that equals death? Is it that animal’s organs look exactly like ours? What is it that viscera remind us of? Is it just a question of habit? Or is there a more deep rooted psychological reason for this? I propose that the answer lies in our estrangement from nature and in our refusal to look at ourselves as part of it. We don’t like to be confronted with death; we don’t like to think animals are just like us on the inside, we don’t like to think of how fragile our existence is.
This body of work, that is just beginning, intends to further explore these questions, exposing to plane view the more cumbersome bowels.

Coração e rins e outros órgãos internos causam repulsa. A pessoa comum recua à sua vista. Desde sempre intrigada por isto, pergunto-me porque nos sentimos tão repelidos pelos órgãos que são vitais para nossa existência? Será porque não suportamos olhar para o nosso interior? Será porque um órgão exposto é igual a morte? Será porque os órgãos dos animais são exactamente como os nossos? O que é que nos fazem lembrar as vísceras? É apenas uma questão de hábito? Ou há uma, mais profunda, raiz psicológica para isto? Proponho que a resposta está no nosso distanciamento da natureza e na nossa recusa em olhar para nós mesmos como parte dela. Não gostamos de ser confrontados com a morte, não gostamos de pensar que os animais são como nós por dentro, não gostamos de pensar quão frágil é a nossa existência.

Este conjunto de trabalhos, que agora começa, pretende continuar a explorar estas questões e expor à vista as entranhas mais incómodas.



WHERE GOOD IDEAS COME FROM by Steven Johnson