As a way to represent the world that surrounds me, photography assumes a role of mere image capture, which can be beautiful and appeal to my senses, but aesthetically mean nothing to me.
On the contrary, I like to photograph what I look but I don’t see and only the camera can reveal. Only through it I can find out what I can not, otherwise, contemplate.
My creations, those that in fact pleases me from the point of view of the aesthetics behind them, reveal a world that, being what surrounds me, it’s only visible in the product of my camera. The camera is to me, as the brush is to the painter. Distinct instruments of image revelation, soul states, or simply the ghosts in my head. Here it takes the leading role to reveal me other “worlds”, such as time, space and movement. Photography is not what I photograph. Photography is a divergent reality.
My photography reflects the nonconformist individual that I am. Abstract thinking and constant search for the new as if it they were opium, the risk and the pleasure that it gives me, are what feeds my passion.
My purpose is not conventional photography. My purpose is the other side of the reality that surrounds me, the side of the camera, and this is unique.
2014 “Take My Body”, Fotozine
Magazine “Super Foto Prática” (PT)
Magazine “O Mundo da Fotografia Digital” (PT)
Magazine “Pessoal” (PT)
Magazine “Human” (PT)
0 Figura 2007, Tribute to Cruzeiro Seixas (PT)
0 Figura 2008, Tribute to António Inverno (PT)
0 Figura 2012, Tribute to Victor Lages (PT)
El Diablo Magazine Nov/Dez 2010 (SP)
Magazine Vogue May 2011 (PT)
Magazine Time Out May 2011 (PT)
Magazine HD May 2011 (PT)
Newspaper Metro 2011/05/05 (PT)
Magazine Blitz junho 2011 (PT)
Mythical Bands Collection II, Pop Dell’Arte, January 2012, Levoir (PT)
Book Cáceres Pop 2011!, Diputacion de Cáceres, 2012 (SP)
Magazine Metrópoles nº 34, 2012 (PT)
Design and cover photo of the romance of Juliet Ferreira “sem ponto final”
Design and cover photo of the romance of Juliet Ferreira “Pedaços de Mim”
Cover photo of the romance of Juliet Ferreira “Carta a um ex-amante”
2013: IV Amadora Contemporary Art Fair;
2013: Hotel NH, Lisbon;
2012: Cabalum Galeria, Pontevedra, Galiza, Spain;
2012: III Amadora Contemporary Art Fair;
2011: II Amadora Contemporary Art Fair;
2011: Collective Exhibition of Plastic Arts of Círculo Artur Bual Artists, Espaço+, Aljezur;
2011: : Collective Exhibition of Plastic Arts of Círculo Artur Bual Artists, Teatro Eduardo Brazão, Bombarral;
2011: Fernando da Fonseca Hospital, Amadora;
2010: I Amadora Contemporary Art Fair;
2010: Sobral nas Linhas de Torres: views and perspectives, Municipal Gallery;
2009: DELFINS – 25 years of pop cult, Teatro Experimental de Cascais;
2009: IV Fine Arts Exhibition of the City Estate 2005-2009, Artur Bual Gallery, Amadora;
2006: Art in the Plain – painting, sculpture and photography, Montemor-o-Novo;
2014: Espaço Santa Casa, Santa Casa da Misericórdia, Lisboa;
2013: Art Hill’s, Lisboa
2012: Club 5, Amadora;
2012: Noble Hall of Recreios da Amadora, Amadora;
2011: José Régio Library, Amadora;
2011: Noble Hall of Recreios da Amadora, Amadora;
2011: Arts and Shows Center, Figueira da Foz ;
2009: Noble Hall of do Recreios da Amadora, Amadora;
2009: Municipal Gallery of Sobral de Monte Agraço;
2007: Contemporary Art Center of Amadora, Alfragide;
2007: Goupama.Arte, Lisboa.
QUOTES ON MY WORK
“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.”
“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.”
“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.”