I have always worked with feminine signs, though at the beginning I did so unconsciously. I have always used the signs of the nutrition of life, fecundity, maternal spirituality and the feminine universe. This can be seen in my exhibits “Circle and Dot, Dot and Circle”, “Bearer of Pearls”, “The House of Time”, “Born of Venus”, and in many other works that I have developed.
When I went to live in the Pyrenees, at first there was no room for a studio, because I lived in a hotel. At that time I had an exhibit in Paris and needed to paint big canvases, so I began to take them into the open fields. One day I noticed that a leaf had fallen on one of the paintings and tinted the paint. I liked that.
At that time I had bought a canvas measuring ten meters, and that is when the idea of the “Four Seasons” arose, a canvas that I took out into the woods and developed and elaborated and painted according to the seasons, always covering it with earth, branches of trees and stones. At the same time I wanted to expand this project by leaving some paintings in dry river-beds later to be covered by water, others around tree trunks, and so on.
Being a pilgrim by nature – in fact I traveled the Road to Santiago in 1990 – I felt that my work had to break out of the four walls of the studio. I formed a partnership with nature, and my work began to reflect its fingerprints.
I believe that this is a powerful partnership. Whenever I retrieve my work, no matter where – in the Amazon, in the Pyrenees or on the Road to Santiago – I am always moved by what the invisible hand of nature has done to my original paintings.
I think that this is incomparably unique art, for in each and every case the will of water and wind and the mystery of stone and earth interact with my work in a very special way.
I often take the painting ready to be placed under the ground, at other times I use materials from the place itself, as with the spring flowers on the Road to Santiago, and the wind and sea at Sète. I do my part of the work and then it returns to the earth, undergoes a period of telluric gestation and is then removed.
To work with the Earth is to work with the sacred, the Great Mother, the Immaculate Conception.
It is like a seed about to be transformed. The final product of all this is very important to me. The Road to Santiago kept ten of my paintings, and the Amazon and the Pyrenees kept one each, but for me it is not just the visual aspect that matters, but rather all the energy surrounding this transformation.
On the Road I began to work with metals. I want to use more and more resistant materials. This is just a beginning; we have to wait to be shown the fruits that time will yield.
I worked with copper, not by chance, because centuries ago the alchemists used the symbol ♀ – which also represents the planet Venus, the Greek Goddess Aphrodite and the feminine gender – to represent this metal.
Burying in the ground
I dug up the Heart and other paintings left at Cebreiro.
In the Santiago Path, we stopped at a very special place, a valley always visited for flying saucers, and there also lives na Alchemist that works with rocks and its energy.
He smashes the rocks of the area, and others from many parts of the world, doing his work.
People say that beings from outer space taught him this technic.
I was so impressed with the beauty of the colors of that work that he gave me some, and back home many people asked me for a little of that colored rock’s dust. There were golden, silvery, rose, red and green dusts.
It was something very rare.
Once in Santiago, I thought the beautiful dusts should be kept in little boxes.
So I bought a lot of these cute boxes and let everything prepared for the next day, when I’d bury the first paintings in Santiago de Compostela.
Even working hard for many days and driving for more than a thousand os Miles, i couldn’t close my eyes that night, and when i looked at the watch, it was already five o’ clock in the morning. Suddenly I got an intuition that those rocks had some different energy, not a proper kind of energy to use on my works, but for the alchemist.
I opened the room’s door and placed the little box outside. When i got back, i finally fell asleep.
The Santiago’s Path, 13th june 2008 – Cloister of the College of Geography and History
It was my arrival at Santiago, I couldn’t say that is was the ending of pilgrimage journey, cause I’d have to let the ground work at my paintings and then come back to unbury them.
It was at this emblematic cloister that I let one of my canvas and a metal plate. I decided to bring them all clean to let the spirits of the past get in the support. So many stories happened at this place!
It was with great emotion and under the blessing of Saint Jacob and the Holy Mother that I let there my work, waiting for that ground to give him shelter.
I let a canvas and a copper plaque there.
Further more we went to the Mount of Gozo. A very strong part of the Path. Is the place where the pelegrims can see the Santiago’s Cathedral for the first time. A joyful place.
With angelo and edinhos’ help, I let a copper plaque and a couple of canvas there.