Mónica Oliveira
Born in 1971. Professor in Paula Frassinetti Superior School of Education (Oporto) in the area of Art Education. Post PhD in Art Education, Fine Arts Faculty (Oporto University - 2015).
PhD in Fine Arts from the Fine Arts Faculty (Salamanca University – Spain 2000). Researcher in the Human Development Study Centre (Catholic University of Portugal) and I2ADS - Institute of Research in Art, Design and Society of Fine Arts Faculty in Oporto University.
Awards / distinctions:
2012 - Award Artesfera - Arts
2012 - Honorable Mention in the National Competition of Sculpture, Creative Capital
It is represented as a sculptor:
In private and institutional collections (Sargadelos Museum – Spain; Sonae; Ministry of Public Works, Transport and Communications and public spaces (S. João da Madeira).
Solo exhibitions (of which we highlight the following):
2013 - Stories (re) visited, AMAC, Lisbon.
2008 - "His Majesty the King", Anadia Museum.
2007 - (In) direct Speeches, Nuno Sacramento Gallery, Aveiro; Found space: Postponed Space, Sala Maior Gallery, Oporto.
2003- Once Upon a Time ..., Marina Miranda Gallery, Oporto; Body Dialogues, Árvore Gallery, Oporto.
Collective exhibitions (of which we highlight the following):
2015 - 1st Art Biennial, V. N. Gaia.
2013 - Visual arts - Artesfera 20, Lisbon.
2012 - Experimentarte - Creative Capital, Paços de Ferreira.
2009 - T6 + 1, Mariana Jones Gallery, Oporto; Next stop: Culture, Lisbon; XV Art Biennial of Vila Nova de Cerveira.
2008 - Trema Gallery, Lisbon; Contemporary Art Fair, Lisbon.
2007 - Nuno Gallery Sacramento, Aveiro; Contemporary Art Fair, Lisbon.
2006 - ART COLOGNE 2006; Contemporary Art Fair, Lisbon.
How to paint the light?
The sculpture reveals its meanings through the dichotomy light/shadow. It is assumed as a body material, which does not deny other dimensions, drawn either by the light that leads to a lightness centred on a search of abstract shapes that open wings to our imagination, whether in the forms and the materials it is made that guides our reality.
From real to the imaginary, the sculptural journey enables us by light and shadow, walk in our rhythm through visual metaphors that mingle with the representation and with the projected image of our experiences, our memories, without rush to get to their ultimate meaning. Certain figures are formed spontaneously in the design of new meanings, new imaginary. Build by open and closed paces where light and shadow penetrate and leave a track of a single narrative.
The sculpture is inspired by the rhythms of the lights and shadows, in the simplicity of what are natural and the sophistication of a silent language of metaphors, a kind of limbo where our experiences and memories are saved. The sculpture is revealed in the light that illuminates her and the shadow that materializes her expanding the perception of objects.