Symmetry of Seeing2024
Symmetry of Seeing2024
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How is a self-driving car trained to see the world? The blurred, pixelated,
and almost ghostly images produced by machine vision evoke a sense of
mystery. This raises the question of which contemporary material could
capture these invisible digital data in a tangible and timeless manner.
The lithophane technique with synthetic materials offers a way to transform
two-dimensional digital images into physical objects with depth, shadows,
and textures. This process brings the synthetic image into the physical
realm, creating a dichotomy between the visible and the invisible. A
recurring theme when discussing machine vision or computational
photography, where the recognition of real-world objects can resemble
scenes from a horror movie, with machines perceiving ghostly
representations of reality.
These machine vision images give us a new way of seeing the world, even
on a molecular level. However, these databases of information and types of
images do not belong to us, as they are machine interpretations of the
world, reflecting a form of symmetry with human vision but at different
levels, suggesting a kind of technological colonialism. This also raises
concerns about whether models, datasets, and algorithms dominate our
reality, potentially obscuring certain real events.
This series of panels presents blurred images that can be seen as an
attempt to imagine ourselves through the lens of a machine, considering
how technology observes us and how it might identify what we are today.
It's a reflection on the complexity between humans and machines,
questioning what and who is in control.
Material
PLA, UV Resin, Acrylic Paint, Varnish
Dimensions
Panel 1 (15 x 21 x 0.5 cm)
Panel 2 (31 x 50 x 1.5 cm)
Panel 3 (60 x 40 x 1.3 cm)
Deep Shadow in an Echo World2024
Deep Shadow in an Echo World2024
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Description
Images of a seemingly aseptic landscape form a dance that, by the nature of its representation, suggest latency and action, presence and absence, reverberation and resonance, ephemerality and persistence, suspension and continuity of time.
Format
4K, Color, Stereo
Duration
08'26"
Close but not too close2023
Close but not too close2023
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Description
The latent space is an abstract space, inherent to the formation of virtual images. It is a
binary plane of encounters and disencounters of different images that are constantly fed by
a neural network and formed by different digital files. It's like a desert composed of small
noisy grains that constantly collide with each other and pulsate. During these interactions,
these artificial and abstract particles acquire the abilities/competencies of recognition
and the constitution of a collective "memory" of these reciprocal influences. We can
designate them as small impulses of artificial memories that end up generating and
encompassing different latent features such as shapes, colors, textures, contrasts, and
other sets.
To form or translate a photograph into the binary field means that we are
feeding
the latent space. We are collecting, depositing, and storing memories, data, and other
characteristics in virtual and neural structures that simulate, interact, and behave like
complex organisms. In the possibility of translating everything into 0 and 1, all possible
digital productions can be translated and originated at the same time.
In my work
"Close but not too close" (2023), I wanted to put these thoughts into
practice. I started with a photograph of a horizon with a nebulous mass, which served as a
reference for the algorithm to generate new similar horizons. During the process, various
similar horizons were generated, with different nuances and the production of new forms that
ended up being characteristics of that specific time and space of the image. Thus, a file of
image-archives formed in the latent space, with the machine learning to recognize, create a
collective memory in its network, and consequently, merge the temporal record of the initial
image into a new type of time marked by a constant fall, submersion, and fluid continuity.
There is no longer a past, present, and future, but rather a latent time where the image is
always pre-existing.
This transformation process implies a time for the initial image
that cannot be
considered equal to the initial photograph, as they involve completely different formation
processes. For Barthes, "what the photograph reproduces to infinity only occurred once: it
mechanically repeats what can never be repeated existentially" (Roland Barthes, 1980, p.13).
The creation through the latent space generates results opposite to those Barthes speaks of
in "Camera Lucida." What Barthes tells us is antagonistic to these new horizons or
computational photographic processes, which now represent an infinite reproduction occurring
on multiple planes, where temporal distinctions dissolve into a single virtual
space.
Computational photography is also a response to the miniaturization of the
machine
and its ability to produce images faithful to what we consider real. However, how true is
this image? The production of these images occurs in the binary plane through processes
generated by noises and references to other images. During the capture, the algorithm
engages with the latent space, where references similar to the captured image and different
types of digital files generated by other people, other perspectives, and similar forms help
create a new image. But is this a true image? That group photograph or recorded memory of
our mother is also other mothers, as it is generated by different hands, different skins,
different noses that the algorithm feeds on. Archives of other bodies, other perspectives,
helping the desert of latent particles to make a recognition of life, transforming itself
into a new type of life? What is the real distance between vision, the lens, and the object
we photograph through computation? How far is far?
Format
4K, Loop, Color, Stereo
Duration
02'33"
Collection
Caixa Geral de Depósitos Collection
Abiosis2023
Abiosis2023
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Description
An apparent aseptic and industrial atmosphere acts as the backdrop for a delirium generated by algorithms attempting to dissolve boundaries between the tangible and the ephemeral, the concrete and the ethereal.
Artistic Residency
Residency "Animais", organized by CADA, Vila Velha de Ródão, PT
Exhibition
Former Prision of Trafaria, Almada, PT
Format
4K, Loop, Color, Stereo
Duration
04'29"
Material
Glass Lens
Note
This video originated from a collection of location data and images from the cellulose factory located in Vila Velha de Ródão, PT.
Technosphere2023
Technosphere2023
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Description
In a world poorly structured to receive them, new possibilities burst forth, bringing with
them an inflation of discourse and counter-discourse. In this scenario, artificial
intelligence emerges as a frontier that allows us to contemplate our own history, explore
possible futures, and reflect on unrealized pasts. Does the incessant pursuit of perfection
bring us closer to or further away from our essence?
In Technosphere, Rodrigo Gomes
involves us in an enigmatic dance between power, facts, and counter-facts, in the pursuit of
an inexorable perfection.
Exhibition
Magalhães Project, organized by Museu Zer0, Tavira, PT
Format
Full HD, Color, Stereo
Duration
12'01"
Voice
Hugh by Murf AI
Script
Rodrigo Gomes, ChatGPT, Chapter III from Moby Dick
Images
Rodrigo Gomes, “The Incredible Machine” - Murphy Productions Internet Archive, “Operation Cue” - Office of Civil Defense Internet Archive, “Castle Bravo Operation” - Lawrence Livermore National Laboratory, “V-2 Rocket Pictures of Earth” - National Archives Catalog, “Bertillon's Synoptic Table of Physiognomic Traits” - The Public Domain Review, Dall-E, Midjourney, Runway ML, Topaz AI
3D Modelling
Rodrigo Gomes
Camera
Fábio de Carvalho
Sound
ML.Markov, Rodrigo Gomes, Adobe Podcast AI
Grading
Fábio de Carvalho
With Participation of
David Luís, Dida Ramos, Fábio Carvalho, Isabel Tojo, João Malato, Margarida Silva, Mariana Gomes, Miguel Braz, Susana Vieira, Tiago Rodrigues
Boolean2023
Boolean2023
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Description
A plane simulates the Boolean operation used in 3D software to create intersections and complex forms between visible and invisible shapes. By intersecting these shapes, new volumes emerge from the overlapping regions, adding depth and intrigue. The difference operation, or subtraction, carves out spaces within the structure, creating negative spaces and a sense of contrast.
Exhibition
Igrexa da Compania - USC, Santiago de Compostela, ES (2023)
Material
Wood, Silicone, Acrylic Paint, PVC Tubes, Plaster, Iron Chromatic Tubes, Resin, Sikalastic-1k
Dimensions
Variable
Obscurus2022
Obscurus2022
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Description
The story of a non-binary person who is unable to love and struggles to comprehend solitude.
JUDE ORA has the inner strength to change everything, but she cannot overcome her inability
to love. She generates so much energy to create, yet she cannot accept loneliness. The
reality around Jude is vast and obscure, like the Universe.
If obscurity can resemble the end, its ambiguity and uncertainty might elevate the
notion that it could be the origin of everything, because without darkness there is no
reason for light to exist.
Exhibition
Lisboa Incomum, Lisbon, PT (2022)
Artistic Residency and Organization
EMERGE - Associação Cultural
Duration
30'00"
Photography
Marisa Bernardes
Supported by
DGArtes, Torres Vedras Municipal Council, Teatro-Cine de Torres Vedras, Torres Vedras Center of Arts and Creativity, Performact, Cerveira Biennal Foundation and Lisboa Incomum
Whispering Mirrors2021
Whispering Mirrors2021
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Description
Whispering Mirrors equates about the apparent linearity and predictability of time and
physical
space through its objective mediations and subjective correlates, exploring material devices
and atmospheres of specular flows in which sculptures, technical objects, images, and sounds
are constituted as animated realities, by developing their own modes of existence and
specific
spatiotemporal configurations.
The exhibition space is given here as a certain spatiotemporal capsule, where
contingent
dynamics of worldmaking and inhabiting processes are explored.
We access a large cocoon, a place of transformation, material, and speculative
otherness,
where a heterogeneous and immersive technological apparatus completes and totalizes itself
as a kind of artificial, but living organism, which, in the movement of its breathing,
self-references
and self-reproduces.
A dynamic thought between materials, images, and sounds is revealed: the objects
looking
for the images of which they are referents or reflections; the images, endowed with
thickness,
looking for the bodies of which they are the skin.
Upon entering, Ariane welcomes us. The only humanoid presence in the entire
exhibition — as
a witness of a distant time and of another place that was once inhabited — whispers to us a
little
story, the short story by Jorge Luís Borges, “Animals of the mirrors”. It tells us of an
immemorial
time in which mirror beings and human beings did not coincide, living in a communicating but
independent harmony, which would be broken by a battle between these two worlds, the first
being imprisoned by the second and doomed to perpetually replicate their movements. One
day, however, all mimetics would be destroyed again.
Collecting these fabled echoes, Whispering Mirrors is situated in a gesture of
ambivalent
productivity. On the one hand, rehearsing a possible return to a mythical memory, or
primitive
imaginary background, where matter and images share the same ontological status, and
where the human does not assume a hierarchical and mobilizing position. On the other hand,
proposing to draw itself as a potential space for a future eco-logy where this condition of
horizontal presence is allowed and operable by the creative action of technological devices,
in a
poetic and sensitive effort, where the world, the technique, and their shaping forces take
place
in a dimension of infinite openness, difference, and fertility.
Exhibition
Carpintarias de São Lázaro, Lisbon, PT (2021); Igrexa da Compañia - USC, Santiago de Compostela, ES (2023)
Curatorship and Text
David Revés
Supported by
DGArtes, Carpintarias de São Lázaro, Ocupart, Câmara Municipal de Lisboa, USC - Universidade de Santiago de Compostela, Deputación da Coruña, Fablab
Exhibition Teaser
https://vimeo.com/626831632Exhbiition Talk
https://youtu.be/_lMEtJAmkC4Ariane2020
Ariane2020
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Description
Ariane is a deepfake video of Ariwasabi, the world's most famous unknown model from the stock image website Shutterstock. Billions of people see her face on a regular basis but no one knows who she is. An image ghost. In a world where image broadcast is dictated by its usage, reality proves out to be schizophrenic. Machine learning is leading us to a future where new words can be put into speeches. Social media profile images and celebrities are transformed in to porn stars and video footage can be altered to put people in places where they never been. Leading us to believe that an event occurred in order to influence the opinion and feed one new type of invisible and unknown violence. For our pupils to get in touch with reality, which at the slightest miscalculation reveals itself to be pre-designed, eye drops are necessary.
Exhibition
Festival Reclaim The Tech, Bologna, IT (2024); Forever Young - The Dorian Gray Syndrome, MEET Digital Culture Center, Milan, IT (2024); Le Miroir d'un Moment, Le Cube Garges, Paris, FR (2023); True Colour/Real World?, Watermans Art Center, London, EN (2022); Reboot Fest, Casa Comum, OPorto, PT (2021); Ibrida Festival, Florí, IT (2021); 19th Media Art Biennale WRO, Wroclaw, PL (2021); Alternative Film/Video, Belgrade, SR (2021), Black Raven Award - The New Art Fest, Lisbon, PT (2020)
Format
Full HD, Loop, Color, Stereo
Duration
03'01"
Award
Black Raven Award - The New Art Fest 2020
Direction and Production
Rodrigo Gomes
Voice
Rita Isabel
Images by
Carolina Caramujo, CNN, Google, Rodrigo Gomes, Shutterstock, The Overexposed Model, The Overexposed Stock Image Model
Translation and Subtitles
Ricardo Alexandre Batista
Acknowledgments
Ana Rita Romão, Alice Albergaria Borges, Fábio de Carvalho, Fernando Fadigas, Joana Leão, Papoila, Ricardo Alexandre Batista
Static2019
Static2019
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Description
Static is an interactive performance developed through images and sounds interaction/ manipulation on a photoluminescent and modular sculpture created with recycled plastic. The construction of an audiovisual dialog arises from visible and audible statics derived from the explosion that gave origin to the Universe. One small percentage of the white noise comes from the Big Bang, as result the static contains information that help us to understand and analyze stars born, planet and comets. The performance begins with sounds and frequencies from space recorded by NASA, that helps to analyze planets and, as consequence, our position as Humans in the Universe. Static represents a process of transformation, recreation and exploration. It's the beginning and the ending of the creating act.
Exhibition
Galeria Zé dos Bois, Lisbon, PT (2019); Bairro das Artes, Ocupart, Lisbon, PT (2019)
Duration
30'00"
Material
Recycle Acrylic, Aluminium, Iron, Photoluminescent Ink, Proximity Sensor, Arduino, Computer, Pad Mini Controller
Dimensions
167 x 103 x 73 cm
White Noise2019
White Noise2019
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Description
This sculpture represents the visualization of a white noise signal, capturing the essence of the concept of random variation in time or space. The work features elements arranged sequentially or distributed across multiple spatial dimensions. In the sculpture, each component reflects the idea of digital pixels of a white noise signal, with independent variations and a uniform distribution over a specific range. The result is a piece that alludes to the randomness and diversity inherent in the nature of white noise, evident in its form, the transparency of the material, and its overall arrangement.
Exhibition
Entre as Pedras há Verde, Ocupart, Lisbon, PT (2019)
Collection
Private Collection
Material
Acrylic Waste
Dimensions
56 x 47.5 x 13 cm
QR Code2019
QR Code2019
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Description
QR code is a video sculpture built by a group of pixels which are strategically placed and replaced as chess pieces. The artwork was raised from a relation between image and code, limited by a QR code and a small percentage of visible and audible static (White Noise), inspired by the creation of Universe - the Big Bang.
Exhibition
Entre as Pedras há Verde, Ocupart, Lisbon, PT (2019)
Format
Full HD, Loop, B&W, Mute
Duration
02'50"
Dimensions
23 x 27 x 9 cm
How to Deposit Images in the Bank?2018
How to Deposit Images in the Bank?2018
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Description
The act of creation involves taking responsibility for another body. The reality we live in
is filled with images, which flow through screens and materialize in various forms and
bodies. They become extensions of ourselves, allowing us to reflect on reality. Our
consumption of these images begins through media, which presents reality as a thin veneer of
makeup. Society acts as a stage, and the world reciprocates with similar behavior.
A false world exists within reality.
Reality consists of a collection of false images, virtualities, and fictions that, when
consumed, transform, evoke misunderstandings, and create meta-narratives. There are various
types of multidimensional bodies. To understand what fills these bodies, we need to examine
photography, sculpture, painting, cinema, and other forms of imagery that constitute
reality. The world is embedded in manipulated film editing; reality is post-produced and
reconstructed into the image of tomorrow. We live in a state of post-imaging. In the
contemporary world, the infinite number of audio and video tracks has enabled the creation
of a new type of image. New editing technologies are like Pandora's box: multiple images,
titles, hypertexts, multi-perspectives, high definition, graphics, and complex sounds aim to
capture the viewer's attention. Behind the visible surface of these images is an infinite
number of hidden layers, serving as a 'make-up.' This allows for the creation of different
ways to collect and write history through audiovisual means, bringing us closer to a
mechanical memory in a world increasingly governed by automation.
However, what content do these images carry? They represent shared memories, not
only
reflecting what we see but also concealing aspects of the construction process. What are the
narratives that shape our lives? Are we a storehouse of images that do not belong to us?
These questions go beyond the notion of spectacle; the images we consume also become a
glorious metaphysics. We bow to symbols and new forms of expression, adopting an attitude of
intervention towards the images that seem true to us.
The power of images depends on the significance we attribute to them. Images help us
define,
remember, and sometimes perceive, but on the battlefields, they become controlled
information.
Exhibition
Appleton [Box], Lisbon, PT (2018)
Format
Full HD, Color, Loop, Stereo
Duration
04'50"
Material
Wood, Mirror, PVC Tubes, 2 Speakers, Metal
Dimensions
Variable
Video Link
https://vimeo.com/338364044Collateral Murder2018
Collateral Murder2018
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Description
The "Collateral Murder" video is a military recording made public by WikiLeaks in April
2010, documenting an event in Baghdad, Iraq, on July 12, 2007. The video, recorded from a
U.S. Apache helicopter, captures the crew firing on a group of people in a Baghdad suburb,
resulting in several casualties, including two Reuters journalists, Namir Noor-Eldeen and
Saeed Chmagh.
In this sculpture, scenes from the shooting are projected, forming a
bridge between audiovisual elements and physical forms.
Format
Full HD, Loop, Color, Stereo
Duration
03'31"
Material
Acrylic Tube, Acrylic Sheet, Tripod
Dimensions
Variable
Collection
Figueiredo Ribeiro Collection
Flatland2018
Flatland2018
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Description
I start with a statement. The mirror is a mirror. It reflects, simulates reality, and
creates new spaces. It is a juxtaposition of a non-place, a refraction of different times.
It inverts the image it holds to offer a complacent virtuality. We observe it as an object
and use it in our language.
For better or for worse, it is unclear where an image comes from. It seems to belong
to many places at once. Luigi Pirandello wisely noted the imperfect nose in his work "One,
No One, and One Hundred Thousand." Not long ago, we were one person, and now, at this very
moment, and in the moment that just passed, we are someone else.
The mirror... The mirror is mediation. When we surround our mind with its
reflection, there is no escape.
To observe oneself is to reflect, to pass through, and to remain stuck in the
present. Let's first consider the example of the 'Mirror Stage' (1936), a concept developed
by psychoanalyst Jacques Lacan that explores the recognition of the 'I'. According to Lacan,
it is between the ages of 6 and 18 months that a child begins to create an identity, even
though they do not yet have the capacity to express themselves. During this period, there
emerges a separation between the Ego and the world around it, leading to an awareness of
what is external and internal. In this process, the imaginary and the real feed off each
other. The mirroring, responsible for the fusion of these two realms, gives the illusion of
an individual who holds onto hope. However, reality always reveals itself at another moment.
This is another moment; these words act as a means of communication. I mirror my
neural network, and you, on the other side, create connections with the map you have. Layer
by layer, we build a concept.
Let's view these reflections differently. The first contact we have when reading
this text is two-dimensional; each word is flat. As we continue reading, we begin to
articulate the ideas. At this point, we start to activate a series of brain correspondences
that create a 'three-dimensional' cloud—imagination. However, the starting point is always a
blank page. I try to put myself in the shoes of Edwin A. Abbott when writing "Flatland." An
imaginative mathematical and scientific fiction that laid the foundation for many of the
theories we hear about today concerning the fourth dimension. The story explores the
curiosity of a square, an inhabitant of a two-dimensional geometric world, in discovering
other dimensions. Initially, the square only knows about the second dimension and the zero
dimension, inhabited by a point. When it encounters Spaceland (the third dimension), it
discovers completely different forms that it cannot explain in its dimension. Its confusion
arose from encountering forms it couldn't identify, yet they communicated with it. In
Flatland, sound is the only element present in all dimensions, even in the fourth
dimension—a place where everything can be seen and all knowledge is attainable.
Similarly to the geometric shapes in Flatland, many of the communication
technologies in our world have added a new dimension to how we communicate.
The perception of distance from an aircraft in the air is physically conveyed
through the vibrations of air mass entering our ears. Through this propagation, we can
define the origin of the sound source over a specific space. This creates a mirroring of
something we haven't seen yet, but we already sense in our auditory channel. At the moment
of auditory and visual crossover, a person occupies a 'dual position' in space—they see and
become aware.
Listening to a sound requires a different attention span than just hearing. Before
the invention of radar, the military was limited to information obtained through seeing and
hearing. During World War I and the early stages of World War II, Britain invested in
constructing an anti-aircraft warning system on its southern and northeastern coasts. Known
as Acoustic Mirrors, these concrete structures operated as large sound amplifiers to detect
enemy air raids. Their concave and spherical shapes concentrated, conducted, and reflected
sound wave propagation to the operator. This allowed them to detect enemy attacks through
sound, even when they were out of visual range.
The mirror adds new forms. It is simultaneity and juxtaposition, allowing the near
and the far to be placed side by side.
Today, the clouds are dispersed and the wind blows slowly—I know this because I have
a mirrored bowl in front of me. As I write, side by side, I become aware of what is
happening on the street. I hear the echo of the words I type in the space that the screen
steals from me. Several days have passed between these pages and a thousand others. Often, I
lost my train of thought, but during breaks, I kept listening to the writing.
The role of the mirror in space, whether real or virtual, has a presence similar to
magnetism—it attracts energy and releases other forms of thought, image, sound, matter, etc.
However, it is possible that a mirror can be almost anything, but within that
'almost,' the mirror is primarily the accumulation of time in an immobile space.
Exhibition
Mostra Nacional Jovens Criadores, Lisbon, PT (2018)
Material
Acrylic Mirror, Glass Ball, LED
Dimensions
50 x 50 x 15 cm
Terçolho2018
Terçolho2018
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Description
Terçolho refers to the multiple images, interfaces, hypertexts, multiverses, updates,
operating systems, and CGI graphics that seek to offer a new reality to the viewer. Behind
every visible surface of the image lies an infinite number of layers of operations and
algorithms.
The power of images depends on the power we attribute to them. Images help us
define, remember, and sometimes understand, but what content do they truly convey? Are they
shared memories that represent not only what we observe but also what maps conceal through
their construction process? Is the world a repository of images that do not belong to us?
What are the narratives that structure our lives?
These questions are not limited to a relationship of visual spectacle; stye aims to
be like the symbols we bow to; the icons that guide us, emojis that convey feelings, and
avatars that mask our identity. An attitude of intervention towards images that appear to be
true to us.
Terçolho is a metaphor for the very process of constructing audiovisual works. It is
an extended map of a non-place. A digitally fictionalized image through editing software
that, when projected onto a sculptural body, gains a physical dimension. The image shapes
the sculpture, giving it a topographical dimension.
Behind the visible surface of the image lies numerous processes; there is an entire
process of constructing objects such as lenses or cameras, which over time have influenced
our reading of images. It is not about an image as a physical object but as a repository of
information.
Format
Full HD, Loop, Color, Mute
Duration
02'43"
Material
Acrylic Mirror, Glass Paperweight, Projection Screen
Dimensions
50 x 30 x 40 cm
Collection
Private Collection
Video Link
https://vimeo.com/281707415Ultraviolet Garden2018
Ultraviolet Garden2018
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Description
In Ultraviolet Garden, objects are positioned on chessboard as pieces of a strategy game where lenses, video cameras and magnifying glasses are components which reflect foundfootage images of a murder occurred in 12th July 2007. This date remarks a situation where two Reuters journalists died because the telephoto lenses from their cameras were mistaken as two RPG guns during the North American Army air strike against the New Baghdad district. Over three years, Reuters tried to access the video attack through the Freedom of Information Act Law without success. On 5th April 2010 during the leakage of information, the video became public under the name of “Collateral Murder” on account of Wikileaks.
Exhibition
Frontpage Project, Melina Museum, Athens, GR (2023); D-Normal/V-Essay - Floating Projects, Hong Kong, CH (2021); Miami New Media Festival, Miami, USA (2020); Video Art Miden Festival, Kalamatas, GR (2020); Satellite Art Show NYC, New York, USA (2019); 18th Media Art Biennale WRO, Wroclaw, PL (2019); Cosmix III: Incatation, Paris, FR (2019); Aspekt! Aspekt!, WRO Art Center, Wroclaw, PL (2019); Fuso - Festival International de Video Arte de Lisboa, MAAT, Lisbon, PT (2018)
Award
D-Normal / V-Essay - Floating Projects, Hong Kong, CH (2021)
Format
Full HD, Loop, Color, Stereo
Duration
02'31"
Subtitles
Margarida Silva
Found Footage
"Collateral Murder" by Wikileaks
Video Link
https://youtu.be/z1YDmtUgDSYEstivador de Imagens2017
Estivador de Imagens2017
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Description
Estivador de Imagens [Image Docker] is a metaphor about the own process of construction of
the audiovisual work. It is "membranes" that allow us to create spatio-temporal
meta-narratives. Fictional images that when projected into a sculptural body gains a
physical and immersive dimension.
The image models the sculpture, offers a new temporality that unfolds in many others;
architectural, mirrored and multidimensional.
The idea is based in the construction, reconstruction, manipulation and assembly of
digital images to later be projected on a body that corresponds or that belongs to the
sculpture.
Exhibition
SONAE Media Art Award, MNAC, Lisbon, PT (2017)
Award
SONAE Media Art Award 2017
Format
Full HD, Color, Loop, Spatial Sound
Duration
11'59"
Material
4 Mirrors, 4 Plexiglass Tubes, Acrylic Sheet, 4 Speakers
Dimensions
300 x 300 x 210 cm
Collection
MNAC - Museu do Chiado Collection
Video Link
https://vimeo.com/258897904Black Light2017
Black Light2017
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Description
A point of sonic light that contains within it more unknowns than anything else. It only
needs to move or expand to transform into an image.
Think of a point in space where sound and light converge. This point, seemingly
simple, is filled with potential. As it begins to move, it stretches and elongates, casting
shadows and creating reflections that hint at the sculpture.
Format
Full HD, Loop, B&W, Mono
Duration
04'00"
Material
Plexiglass, Metal, Crystal Ball
Dimensions
22 x 30 x 26 cm
Collection
Luís Ferreira Collection
Electric Image Field2017
Electric Image Field2017
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Description
Electric Image Field is a translucent sculpture, which title report us directly to an electric area. This electrification is a luminous conversion of the image projection. The sound sync makes the electric field juggling through a higher intensity.
Format
Full HD, Loop, Color, Mono
Duration
05'00"
Material
Plexiglass, Metal
Dimensions
33 x 50 x 50 cm
Collection
Luís Ferreira Collection
Sonaura2017
Sonaura2017
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Description
Sonaura is an audiovisual sculpture that showcases the seamless flow of an image, representing the aura of a three-dimensional object. It draws inspiration from the connection between musical scales and the color spectrum, exploring how both are intertwined through vibrations.
Exhibition
Mostra, Lisbon, PT (2017)
Format
Full HD, Loop, Color, Stereo
Duration
03'00"
Material
Plexiglass, Mirror, Metal
Dimensions
8 x 120 x 46 cm
Collection
Figueiredo Ribeiro Collection
False Color Artifact2016
False Color Artifact2016
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Description
A dual-tone video is projected onto a translucent sculpture, creating a three-dimensional image. This sculpture not only captures the projected light but also shapes and diffuses it, creating an interplay of shadows and illumination. The translucent material absorbs and holds the light, producing a visual effect that changes depending on the angle of the viewer.
Format
Full HD, Loop, Color, Stereo
Duration
04'00"
Material
Plexiglass
Dimensions
5 x 15 x 20 cm
Collection
Luís Ferreira Collection
Deep White for Black2016
Deep White for Black2016
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Description
This sculpture depicts a struggle between white light and the black material that absorbs it. The luminous projection swiftly moves across the curved planes, only to be consumed by the darkness. The sound creates the illusion that it is the source of the light, serving as an intrinsic link between the visible and invisible realms.
Format
Full HD, Loop, Color, Mono
Duration
03'25"
Material
Acrylic Sheet
Dimensions
6 x 50 x 36 cm
Collection
Figueiredo Ribeiro Collection
Dataphonic2016
Dataphonic2016
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Description
Dataphonic is a visualization system that transform a 60Hz tone into a dynamic topographic sculpture. It uses an algorithm to convert the sound frequency into a shifting topographic image, which is projected onto a sculpted surface. As the tone varies, the algorithm adjusts the landscape, creating a real-time evolution of the projected images.
Exhibition
FBAUL Gallery, Lisbon, PT (2016)
Format
Full HD, Loop, Color, Mono
Duration
05'25"
Material
Wood, Rubber, Acrylic Tubes
Dimensions
50 x 150 x 140 cm
Retention of Liquid Forms2016
Retention of Liquid Forms2016
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Description
Retention of Liquid Forms is a video that explores the feedback effect of the image. The interface of the mobile phone camera captures its own image, an infinite regression, a closed system representing the overlapping of infinite planes on the same plane. Here, the loop is an agglutination of repetitive timeless image.
Exhibition
Depois do Estouro, Galeria Municipal do Porto, OPorto, PT (2019)
Format
720P, Loop, Color, Mute
Duration
11'40"