... Born in Lisbon in 1944, professor of drawing.

... studied Design in Decorative Arts, specializing in Lithographic Engraving, taking two years of Architecture, worked and studied Ceramics Set.

... in Spain since 1966, he settled permanently in Madrid in 1971 and in the Canary Islands two years later, where he graduated in Fine Arts.

... frequently exposed in Tenerife and Gran Canaria, has works in museums and official institutions of the Canary Islands, the Iberian Peninsula (Spain) and Switzerland, accumulating several awards, including the award Enrique Lite from the University of La Laguna, Tenerife ...

... now lives again in the Iberian Peninsula (Spain) Extremadura (Cáceres) ...

Words of the painter ...

Say, in advance, that art comes from the Latin ars artis, and means virtue, disposition, ability ... Art is therefore human activity which needs certain sensory faculties, aesthetic and intellectual, that is, a set of rules creating beauty, and beauty is ... everything that gives pleasure to be referred spiritual ... "Beauty is a conjunction between the outer and inner, are the ways and inn harmony and proportion between the outside and the inside ..." (Enrique Rojas)

... Therefore, the beauty of painting is not the same as the beauty of nature, but something so complicated, so transcendent - with its own laws - and so immersed in the deep roots of the soul of an individual, only the intellectual preparation is not sufficient to understand the full extent if there is intuition, or just sensitive ...

The painting, like all arts, has a history, and painters, like all artists, too, and in that history, painting, then, is a task that is to contribute to the evolution of the spirit-lifting with its own language need not be limited to the elite ... and no more enjoys the act of creating that in receiving these stimuli provide aesthetic lines and spots. In any case, the painting, as such, is there - but sometimes we are not aware of their existence - with that indefinable something truly on private and under the eyes of every man, education aesthetics, cultural heritage (or even need sentimental), and is independent of age, but the provision addressing the ongoing challenge of pure life, without that vital spark or intimate experience, different for each one of us, where perceptions before a mountainous landscape or delight in the smell of rain, have a different, universal.

The painting, in its veins dual, which is manifested in their communication skills, a sense of ambiguity is presented which provides a three-dimensional environment, physically absent, structured in a world surrounded by dialogue between order and disorder, which scenarios are built and extraordinary apparent that only has an aesthetic purpose, playful, and in another, we express the purpose of expressing an extraordinary inner world, where the city, countryside or the beach, with its complaints, cries of ads ..., the site of the cars, the evocative skirts of women with their heels, their bikinis, "Trichinella" or ... glasses with deceptively non-existent landscapes, and everything shouts and moves ... between light and shadow, stairs, corners, columns, vegetation, waves ... harmonizing stone silence the sound of nature ... a seduction for the senses of sight and taking refuge in the endless waters of the ocean, where it is, was and be the entire universe ...

... And my painting, which pictures, intense, seemingly inscrutable, before being what we teach, are essentially flat surfaces covered with acrylic colors in unusual combinations, always beautiful, firm, flat brush strokes that seem to infer such dimensions to table confuses their respective limits ... that seem to intersect and fragment with a complex articulation of the spaces of representation, as if the painter's magic light up and isolated, almost flat, the soul of the work, and that lure when viewed from the inside, as if the artist has been introduced in his work, characterized by the presence of lines and geometric shapes in an environment marked by the saudade, a Portuguese word which reached its most profound concept in the poetry of Fernando Pessoa, whose meaning expresses a similar sentiment to the nostalgia, for since it opened and bow window, or open a door to leave, even more in ..., as the viewer watches excited, completely transferred to the territory secret of creation ...

If we respect to science and whether to philosophical speculation about the root causes of all also we respect existing, painting can not take it as if it were a mere hobby.

A picture, before being what it teaches us, is essentially a flat surface covered with colors assembled in a certain order, and when the viewer approaches, not to wonder about what is represented there, but how it is represented that because the spectator, I think, is able to see more things than the artist has ever dreamed of, because usually this does not know his own work until it is found, upon completion, as in a miracle, because it creates a kind of trance ... and whatever the subject, the viewer must try to get there is harmony and combination of shapes and colors in that area, although the trees are blue, or red skies yellow water ...

In reality, nothing is as looks, but ... Is not it beautiful that the operator, to represent them in this way, bring us a chance to dive into a dream world to see these forms of a hypothetical and distant planet belonging to another galaxy?

It happens, sometimes a picture like because it reminds the viewer a beautiful landscape or a beautiful idea of reality that has been recreated or where he has walked long time or ... just stopped ... but at the moment of looking at that work, the viewer should dissociate the reality of similar, or memory recall and contemplate it alone, as a fact that it aims to be a set of shapes and colors in a certain order, to terminate, since the artist creator "forced" to make the world it represents is in part a reflection other than the real world, since the real and exists and does not always lead to pleasure, comfort or quiet welcome ...

Before the picture, let us, therefore, to imagine his background ethical, philosophical, existential, ideological and, above all, aesthetic.

To imagine and to think that every work of art is not a closed world in itself, which has its particular forms and is governed by the laws of the creator artist forged for him, we check whether they are correct, in that harmony together intention and achievement.

Therefore, regardless of ability that everyone has to decode the message that the operator provides, it illustrates with his own feeling and experience.

Do not wait, then, is the right time or miss out on so many empty ... Delight with the work on the first drive and shared with others without wasting time looking for you, then you already recognize the point, because not everything is empty, since that heaven is a wide river of enthusiasm, where a light tree cries from the ground, filled with fruits of creation ... and continue painting, despite the sun, leave, left the rocks on the sandy silence of solitude, with blurred contours, gestures hopeful light creations in an evening full of sounds and a glimpse ...

My work is continually changing pictorial despite apparently always the same, constantly new and unknowingly known, always distant, always identical to itself, though old in the new, but executed by the intelligence and intuition of a painter's hand fingers ... and Despite being complex transfer words the meaning of these works ... best when they reflect a mutation still in existence, with attitudes of criticism and constant search, which will coordinate the concerns and successes, sorrows and surprises, meditation, boldness and hope, both the man and his drama, and the artist and their concerns, translated into spots and shapes, in color with an elaborate investigations composition, where the color, line and structuring reach a dialectical effect sought and austere ... Good information can help, provided they do not intend to supplant or override the emotional encounter between viewer and work.

In this retrospective collection of my work, one can sense the atmosphere of freedom, to promote the status of meeting with myself and the viewer and hold and convey the positive aspect of my life or feeling, somehow comforting to those behold it is very important.

In this creative process that escapes any attempt at external systematisation itself and where structure the different stages ... from the first idea, from the unknown initial reason I became creative potential ... to the final achievement of the work, there is a refined academic and technical rigor of a foolproof, based on my work, concentration and isolation, sensitivity, emotion and vigor at a time.

With a rigorous composition, based on the geometry of the Golden formula as logical arrangement of thought about space, I think keeping the service of a modular organization, which involved the function or dysfunction of forms, volumes, colors, and their interrelationships, and where it appears that something happens, it is unclear whether such idealization as a denial of the existence, where I find tonal approaches, sober, full, vibrant and effective, then sieve glazes and transparencies in a seemingly pastel colors that blend with lush light to create a clean and clear atmosphere, subtle and romantic, in a playful game repeated kinetic analysis ambiguous, and where it always remains a hope, perhaps as a proposal lyric dehumanization of the environment ...

This is how I talk about the ideas, movement, time and beauty of thought, a conceptual art is not real, liberal and enthusiastic, which deals with real rocks in real time, sometimes hieratic figuration, as data were abstracted from the reality of their situations and plot, quietly, without automation, turned into painting that speaks of geometric-architectural spaces, sculptures and details, which appear to be affected by weather and in his quiet appearance, involved a thinking or reasoning ... and also from a deep and clear, even to other gray and green, some stormy times, volatile and turbulent, where the sky and sea, with its waves of riots, strong and playful, it seems eternal and seemingly endless ... as well as some suggested nudity or mainly in a fragmented approach, where abstraction is latent, but always with a complexity made simply because by eliminating unnecessary details and focus seems sensitive to light effects and shadows, all initially treated Spot colors are diluted contours, or most identifying feature in some cases, airbrushing applications, but without losing the specific link of the same color strength and identity ... metaphysical and mental game ... in which drawing and color, figuration and abstraction, are a neat language tables are windows through which we can poke ...

These scenes representing two-dimensional surfaces, three-dimensional spaces and volumes, which have lost their own behalf and his own history in order to load other content, in scenes in apparent calm, intuitive search complicity of the viewer so that when you roam between them with his imagination, can penetrate both in what it sees as figure out what you can not see and be seen in the landscape, where the various accidents are expressed, by putting ideas or words to that pictorial and evocative silence carefully chosen.

Asserting that there is no painting without drawing, I note that the color - which is primarily from a constructivist combinations resolved with Fauvism aggressive, sometimes even a whole series of blue and violet, to the other colors, where the quality optimism is suggested, associated with the record - not being tangible, is as fluid as a musical note, and will be perceived differently for each eye that observed in a context in which a given tone, in conjunction with other takes on an entirely new character, where the search for a key, which is like humming a song or find a note in memory forgotten, was fascinating and wonderfully rewarding.

The power to look and explore in this work ... there will be budgeted more than the testimony of a few certain spots or lines in the plural ... free ... quality of the symbol.

Find this sign and detach, it means starting all a commitment to repeal the idea of contemplation as receptive passivity in the observation of these pictures you find that, with your understanding, is obtained a new process of evaluation and reflection on the meaning of art, and involves the automatic incorporation, unavoidable to think that what they see or what they had taken as true, in the plastic, as in every area of life, may not to be ... may be an effect of truth, but truth itself ...

Will then the colors and lines ... or ideas ... the only thing that viewers receive immersed in doubt of what may be real, or where to begin and end what they see? ... Is it live, what they have in front, the sensible world and certainly the idea?

victormanuel Gonçalves; October 07