Interview with António Cristo — Contemporary Art Curator Magazine

António, in your career as an artist, what role has the Algarve played not only as a source of inspiration, but as a central theme that defines your work in all media? How do you believe your art serves as a cultural bridge between the Algarve's heritage and a global audience?

"The Algarve has been an inexhaustible source of inspiration for me since my youth. The region's natural beauty, unique light and rich cultural heritage deeply influence my work. Through my works, I seek to capture the essence of the Algarve and convey this energy to a global audience. I believe my art serves as a cultural bridge, connecting traditions and landscapes with people around the world, allowing them to experience the magic and vitality of this region.

My photographic series 'Universal Reflections,' inspired by the Ria Formosa, and 'Geometry of AACristo,' composed of proportional square and rectangular geometric shapes that I created in tiles, exemplify this connection. These works combine compositions of proportional squares and rectangles that create visual and energetic harmony. Each piece is a vibrant celebration of color and the natural beauty of the landscape.

At the beginning of my career, I worked with marble dust and sand, mixing it with cardboard burned by the heat of the fire. Photographic abstraction has become a natural extension, another form of expression that helps me develop and allows me to contemplate other worlds. This mix of techniques is something I share with passion, as if I were opening a closet with several drawers, each one holding my deepest inspirations.

Furthermore, my work is heavily inspired by graffiti, pop lines and shapes, dots and the vibrant energy of street art. The influence of artists such as Banksy, Jean-Michel Basquiat, Keith Haring and Jackson Pollock is evident in my compositions, which combine social criticism, dynamic forms, stylized figures and the spontaneity of dripping. Although my work is unique, these influences are clearly noticeable.

Through my creative expressions, I hope to convey the vibrancy and depth of our universe while exploring new artistic dimensions with pleasure, without clocks and hands. This approach resonates with a global audience, showing that art transcends borders and cultures."

His works are characterized by the use of porcelain stoneware plates and the digigravure technique, particularly on tiles. Can you explain to us the process behind this technique and how this method increases the vibration and durability of your pieces? How does it differ from traditional tile making methods?

"In my works, I use both the digigravure technique and traditional tile manufacturing methods. Digiengraving involves high-precision digital printing on porcelain stoneware slabs, using new pigments and micro piezo printing technology. This process allows for reproduction faithfulness of colors and details, resulting in pieces with exceptional vibrancy in itself is not yet fully proven and is recommended for interiors.

On the other hand, in the tile technique, I use clay and traditional methods, such as the application of high-fire oxide ceramic pigments. The tiles are fired at 1200 degrees Celsius, which sets the ceramic pigments and ensures the pieces are resistant to wear and weather. My 'Geometry of AACristo' series, composed of geometric shapes, proportional squares and rectangles in mini tile sculptures, exemplifies the use of these traditional methods. These works are characterized by abstract lines, dots and colored spots, inspired by street art and pop art graffiti. Inspiration and spontaneous movements of creative freedom are central elements in my artistic process, resulting in vibrant and lasting pieces. I have been working with tiles since the 1990s, while digigravure is an innovative and recent technique that I am exploring."

You mentioned a fusion of photographic and material art in your portfolio, for which you have also received awards. Could you explain how these two media interact in a single piece? Do you see these elements as complementary or do they challenge each other within the same space?

"The fusion of photographic and material art in my works creates a unique synergy that enriches the visual experience. Photography captures moments and details that are then integrated into the material pieces, adding a layer of realism and depth. These elements are complementary, as the photography brings a visual narrative that merges harmoniously with the textures and shapes of the ceramics. However, there is also an inherent challenge, as each medium has its own characteristics and demands to superimpose one on the other, creating a cohesive and impactful piece.

I don't associate material painting with photography, but I use collages on the material surface in some cases. My material art began to be created in the 70s. I use sand, cement, resins, plasters and marble dust on wooden plates. These surfaces are a way to release my creation. I use this support as a wall and create street art and graffiti, whatever inspires me, in gestural and abstract forms with symbols, dots, scratches, scrapes and stains.

Regarding awards, yes, I have award-winning works from the nineties, where I competed in some artistic events, one of which was the PORT`ART Portimão International Art Fair 1992, where I won First Prize. I also received 3rd prize in a competition whose works were exhibited at the Faro Archaeological Museum in 1992/3, in addition to several honorable mentions."

How do you see the influence of nature and landscape in the Algarve shaping your choices of color, shape and texture in your works? Are there specific motifs, like certain plants, animals, or landscapes, that you return to again and again?

The nature and landscape of the Algarve have a profound influence on my artistic choices. The vibrant colors of the sea, the green of the hills and the golden light of the sun are elements that are often reflected in my works. The texture of the rocks and the softness of the sands also inspire the shapes and surfaces I create. Specific motifs, such as the sunset and water mirrors, convey to me a recurring world that captures the essence of the Algarve and brings a sense of familiarity and natural beauty. to my pieces.--

I, in principle, work with primary colors, because for me they represent the purity of the true beauty of the rainbow. I like the light of contrasts, which adds an extra dimension to my works. The influence of nature is evident in the textures I use, inspired by the roughness of the rocks and the softness of the sand. The unique light of the Algarve, with its golden tones and deep shadows, also plays a crucial role in defining shapes and volumes in my creations.

Public art often presents unique challenges and rewards compared to works destined for private collections or galleries. In your experience, what do you see as the transformative power of public art and how does it change the way people interact and perceive your work in public spaces in the Algarve?

Public art has a unique transformative power as it makes art accessible to everyone, regardless of their background or social status. Furthermore, it allows people to interact with the works in a more direct and everyday way. I transform galleries and common spaces into open-air environments with my images, enriching life and promoting a sense of reflection in the community. My experience with public art in the Algarve has shown that these works not only beautify spaces, but also provoke reflection and dialogue among viewers, creating a deeper connection with local culture and history.

An example of this are my photographic works with structures in the Algarve Marsh, which are a mirror of my creation. These works capture the natural beauty and serenity of the Sapal, using geometric shapes and vibrant colors to create a visual harmony that resonates with the environment. The interaction between the photographic structures and the natural landscape of the Mangrove creates a unique visual experience, generating memories and ideas for future creations. I invite viewers to explore and imagine the richness of a future artistic and cultural heritage in nature."

His description of his works as suitable for various uses—such as paintings, trays, and decorative objects—suggests a unique perspective on functionality in art. Do you see this versatility as a way to broaden the reach of your artwork or as an essential part of your identity and purpose?

The versatility of my works is an essential part of my artistic identity and my purpose. By creating pieces that can be used in a variety of ways, such as paintings, trays and decorative objects, I am expanding the reach of my art and making it accessible to a wider audience. This approach allows people to interact with art in different and personal ways, integrating it into their everyday lives. Furthermore, this multifunctionality reflects my belief that art should be lived and experienced, not just observed.

I work on the images and create high-resolution digital files, which allows me to make them available on online sales platforms. With new technologies, this possibility becomes even more viable, allowing my art to reach people in different parts of the world. Creating high-quality digital files ensures that the essence and details of my works are preserved, regardless of the format in which they are presented. This further expands the impact and accessibility of my art, allowing it to be appreciated in a variety of contexts and uses."

Photography is a key component of his portfolio, but it stands out from his more tactile work. How do you balance these two worlds and approach photography with the same mindset as your material art? How does each medium allow you to express different facets of the Algarve essence?

Photography and material art are two worlds that complement each other in my portfolio. I approach photography with the same mindset of exploration and innovation that I apply to my tactile works. Photography allows me to capture ephemeral moments and details that can be integrated and merged with filters, collages, cutouts, stencils and masks in my analogue, digital and material pieces, adding depth to abstractionism in the composition. Photography is the bridge between my mixed and abstract digital creation, transforming into works of art in the graffiti style, with scratches and dots, like pop art street art, with bright and contrasting colors.

Each medium offers a unique way of expressing the essence of the Algarve: photography captures the instant beauty and unique light of the region, whilst material art allows for a more tactile and lasting exploration of the shapes, compositions and textures inspired by the intended effect. Combining these elements allows me to explore different facets of the essence of the Algarve, creating a rich and multi-faceted visual narrative that resonates with audiences.

In the images associated with the interview, I show the three aspects of art that I currently create, with the collections 'Geometry of AACristo' (tiles), 'Universal Reflections' (photography) and 'Expressions of Colors and Movement'. Abstract material and digital painting. These collections exemplify the diversity and depth of my work, reflecting my passion for art and my connection with the Algarve."

Innovation and continuous exploration are important to you. What are some experimental projects or ideas you have in the works? Are there new materials, techniques or themes you are eager to explore that you have not yet incorporated into your work?

Innovation and continuous exploration are fundamental in my creative process. I am currently working on projects that combine traditional ceramic techniques with tiles in 'Geometry of AACristo'. I am creating new materials and combining painting and photography with tiles , exploring the integration of these art forms to create unique and engaging pieces. Additionally, I am incorporating these structures into photography as public art, where the 'Geometry of AACristo' is present where tradition and innovation meet to create unique and engaging experiences. ."

As an artist who values tradition while seeking innovation, how do you approach the notion of cultural preservation in your work? How do you feel the responsibility to capture and reinterpret the traditional elements of the Algarve for a contemporary audience?

As an artist, I feel a deep responsibility to preserve and reinterpret cultural elements in innovative ways. I believe that tradition and innovation can coexist harmoniously, and my work seeks to capture the cultural essence while presenting it in a new and contemporary way. I use modern techniques and innovative materials to give new life to traditional motifs, such as landscapes, flora and fauna, but always with an abstractionist and spiritual touch.

Culture is essential to my identification as a person, but I also live part of my life in a mundane world. My works are fundamental to the world in general. My art goes further, encompassing my spiritualism and worldliness. I believe my art reflects this duality, capturing both the complexities of the human experience and natural and cultural beauty. By reinterpreting traditional elements through a contemporary lens, I seek to create a deep and lasting connection with the public, showing that art can transcend borders and times."

How do you imagine the legacy of your work? What do you hope people feel or understand about the Algarve through your art, both now and for generations to come? Are there messages or emotions you want to leave imprinted on those who experience your work?

"I envision the legacy of my work as a bridge between the past and the future, capturing the essence of my world and passing it on to future generations. I hope people feel the beauty, energy and vitality of the world we live in peace through my art. May my pieces continue to resonate with people, carrying the message that true beauty lies in the harmony between tradition and innovation.

My creative work transcends the place where I live. It is essential to understand that the environment is essential for a creator: the light, the climate, the landscapes, but the main thing is the spiritual and the ways of seeking the invisible and transporting it to the visible. I believe that my art reflects this search, transforming the intangible into something that can be seen and felt.

In the images associated with the interview, I show the three aspects of art that I currently create, with the collections 'Geometry of AACristo' (tiles), 'Universal Reflections' (photography) and 'Expressions of Colors and Movement'. (Mixed Technique, Painting) These collections exemplify the diversity and depth of my work, reflecting my passion for art and my connection to the spiritual and the mundane. I hope my art continues to inspire and resonate with people, showing that true beauty lies in the harmony between the visible and the invisible."

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