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Arlindo Pinto

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Birth year

Lives in

Works in


conceptual, figurative, abstract, digital, photography, digital-art photography realism surrealism, fotografia, Arlindo Pinto, digital_photography mixed-media



As a retraction system of the world that surrounds me, photography takes on a role of merely capturing images that can be beautiful, that appeal to my senses, but that does not interest me aesthetically significant. Rather, I like to photograph the things that I look at, but I can not see and that only the camera can reveal to me. Only with the camera I can figure out what I can not contemplate otherwise. My creations, those which in fact I like from the point of view of the aesthetics behind them, reveal a world that, being my surroundings, is only visible in the product of my camera. The camera is for me, as the brush is for the painter. Separate instruments to revelation images, states of mind, my mind. Here she takes the leading role to reveal other worlds, like time, space and movement. The picture is not what I photographed. The photograph is a divergent reality.

My main photography reflects the nonconformist individual I am. Abstract thinking and constant pursuit of the new are like opium to me. The risk and pleasure it gives me is what feeds my passion for photography.

My goal is not the conventional photography. My goal is the other side of reality that surrounds me, the camera side, and this is unique. I do not want to tell stories with my photos. I want to establish forms, shadows, entities, ghosts, the surreal or supernatural, which populates my head.

But nevertheless, my photography does not live only with ghosts. Lives of more ordinary things. Lives of the live shows, breathe Rock’n’Roll, feeds on the energy of the stage.

She feeds herself with other living things: naked bodies, the beauty of forms and emotions.

She Lives in me and I live it!


I was born and raised in the country side north of Portugal in 1962. At 16 I moved, alone, to the big city, the capital, Lisbon. When (very) young (7 years) somebody offered me a Rollei. At the time it was just a toy and soon disappeared among other toys. As a teenager I began to photograph with borrowed compact cameras. You know: no money, no camera, and no photography.

As you need money to survive I graduate in law school.

A few years ago I get me thinking that the time was right: I had the time, the money, the camera and the will. So I began my education in photography:

2009 Course in Language and Aesthetics Photography

2008 Course in Applied Photography

2005 Photographic Aesthetics Course

2004 Course in Professional Photography

I began photographing with film, but I moved to digital long ago. But to me are just two different approaches, so if my work require film, film it will be. Most of all I’m interested in fine art photography, but love to shoot rock bands too.


Super Photo Practice Magazine: (PT)

The World of Digital Photography Magazine: (PT)

Personal Magazine: (PT)

Human Magazine: (PT)

El Diablo Magazine Nov / Dec 2010 (SP)

Vogue May 2011 (PT)

Time Out May 2011 (PT)

Magazine May 2011 HD (PT)

Metro newspaper 05.05.2011 (PT)

Blitz Magazine in June 2011 (PT)


Design and cover photo of the novel by Julieta Ferreira "without end"

Design and cover photo book of poetry by Julieta Ferreira "Pieces of Me"

Cover photo of Julieta Ferreira's novel "Letter to an ex-lover"


0 Figure 2007, Homage to Cruzeiro Seixas

0 Figure 2008, Homage to Antonio Inverno



2011: Collective Exhibition of Plastic Arts, Bombarral;

2011: Fernando da Fonseca Hospital, Amadora;

2010: Contemporary Art Fair of Amadora.

2010: Lines of Torres: views and perspectives

2009: DELFINS - 25 years of pop cult

2009: IV Fine Arts Exhibition Hall of the municipal estate of Amadora: 2005-2009

2006: Art on the Plains - Collective painting, sculpture and photography

2005: Best student work of the Professional Course Photography


2011: Recreios Amadora: "Look The Lips"

2011: Arts and Entertainment Center, Figueira da Foz: series "Allegory of Hell";

2009: Recreios da Amadora, Amadora: series "Myopia";

2009: Municipal Gallery of Sobral de Monte Agraço: series "Threads of Life";

2007: Contemporary Art Center of Amadora, Alfragide: series "Threads of Life";

2007: Goupama.Arte, Lisbon: series "Threads of Life."



“For some time I follow the work of Arlindo and let me tell you it is a job with great quality, mood, bold, but above all very very professional. For this reason he deserves not only to follow him in linkedin, twitter but also through his personal website that I highly recommend. If you need an experienced photographer, professional and with unsurpassed quality, then Arlindo Pinto is the name.”

Rui Serra, General Founder and Administrator(GFA),

Graphyus Rui Serra, Graphic and Web Design



“Breaking rules, not being limited by reality, using and recycling techniques, this photographer is not merely by the registration desk. His personal touch, at the click or in post-production is characterized by the boldness that is not retained in what is expected. What would this expressive forms of representation be, if they were limited and defined by concrete words? The "punctum"of Arlindo's photographs is that. The tools to accomplish their photographic works are used unabashedly. The light is just the limit of our ability to see and imagine. If photography is a way to look alive, Arlindo is a photographer who refuses to accept this passivity when placed in the front position to the real.”

Alípio Padilha




“Who knows the work of Arlindo Pinto knows that can always expect some surprises. Because this work is done for a permanent renewal, as if the gaze of the author, remaining the same, could show that it can see things from a different angle, new, always new. A new form. It is noticed that the author is not afraid to take chances. And the truth is that he wins with this, and wins the images, and their viewers, who can not remain indifferent.

But Arlindo Pinto is not just an observer, is also a creator. More than that, too, is primarily a creator, or rather an inventor. Perhaps this explains his eyes looking for new things. A look, maybe a little obedient, because the seeking for something new is dictated by the inventiveness of the author. In so many things, in various places, moments you later realize are unrepeatable. The time to pass on the savannah, with a pensive animal around. A kid’s football game. The body of a woman in the late afternoon. A play, as if go back in time several decades in Lisbon. The older men in the garden, sitting with his back to us.

I believe that the author may have in his work the experience of the narrator of a novel for me unforgettable, the beautiful "Soldiers of Salamis', written by the Spanish Javier Cercas. Things, anything, anything he wants to retain, anything he wants to tell the look to retain, and still do not know how. The confused look, waiting, or looking for it too. And the author also. Until the moment he realizes how he must do. And see, before the image, as it will stay. In the book is more or less so. At one point it reads: "I saw my entire book and true, my true and complete story, and knew only that I needed to write it, pass it to clean, because it was in my head from the beginning to end ... "For the image, then, only one click is missing.”

António Manuel Venda


About the series "Threads of Life"


“The act of photograph terminates a interesting duality. On the one hand, celebrates the freedom to express ourselves artistically, but can also manipulate the "reality" through the use of different techniques and at the same time capturing that particular image - which often costs as much to achieve - a single moment. Arlindo Pinto masterfully uses this double feature that promotes photography, never forgetting to feed his spirit of innovation with new artistic approaches.”

António Moreira




“As an observer, I find the pictures of Arlindo a kind of replacement of traditional look, find one embodiment of decoded figures and of thoughts decoders in a abandonment of perfection of the digital image and a meeting of the subjectivity of the image as representation of a photographic assay.”

Luís Rocha


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