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Pedro Amaro

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20181019210033-still_life_table_com
Still Life Jar on Table, September 2018 Collage, Acrylic Paint, And Ink On Paper 152,5 X 45,5 Cm
20180813214318-buracos
Holes In A Bunker, July 2018 Collage And Ink On Paper 142 X 77 Cm
20180813211339-light_bulb_diver_structure
Light Bulb Diver Structure, December 2017 Collage, Acrylic Paint And Ink On Paper And Mdf Wood 70 X 100 Cm
20180813211452-theather_lumi_re
Theather Lumière, March 2018 Collage, Acrylic Paint And Ink On Paper 125 X 49 Cm
20180813215206-flusrescentecom
Fluorescent, May 2018 Collage And Ink 115 X 52 Cm
20180813215330-entronizadocom
Enthroned, May 2018 Acrylic Paint And Collage On Mdf Wood 128 X 60.5 Cm
20180927104047-elevador_com
Elevator Door, September 2018 Collage, Photopaper, Cardboard And A Bit Of Ink 131 X 40 Cm © PedroAmaroArtist
20181019205256-still_life_headcom_com3
Still Life Cats Head , August 2018 Collage, Acrylic Paint On Paper And Mdf Wood 164 X 55 Cm
20180813211341-demonstration_steel_structure_hand
Demonstration Steel Structure Hand, September 2017 Collage, Acrylic Paint And Ink On Paper 120 X 46 Cm
20180813211359-stains_photography
Stains Photography, February 2018 Collage, Acrylic Paint And Ink On Mdf Wood 61 X 76 Cm
20180813211402-sunset_sun_and_sea
Sunset Sun And Sea, March 2017 Collage, Acrylic Paint And Ink On Paper 60 X 70 Cm
20180813211435-window_bedroom
Window Bedroom, August 2017 Collage, Acrylic Paint And Ink On Paper And Cardboard 67 X 46 Cm
20180813204918-backyard_construction_feedback
Backyard Construction Feedback, January 2018 Collage, Acrylic Paint And Ink On Paper 118 X 51 Cm
20180817225255-21894964_10211474337868200_757521047_o
Quick Facts
Birthplace
Lisbon
Birth year
1991
Lives in
Berlin
Schools
Architecture Master Degree
About

Studying architecture taught me how to paint in a different way. Instead of sitting in front of an easel with only myself and I, I wander around my studio collecting information and clues about something I could build. Like a construction, I try to find a structure that binds all those fragments together.
It starts usually with a piece of paper, often an already existing, unfinished drawing or collage stumbled upon. Parts of one work are cut and added onto another. Therefore, there is no original format or orientation to dictate any conditions. If something is incomplete, I glue in additional surfaces. So the painting grows as more and more elements are added. It is hard to know how big the next piece is going to become.
Then, I found that horizontal compositions make the eye travel easier across the surfaces and notice the chain of different materials.

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