De ponta cabeça or de cabeça para baixo e pernas para o ar (upside down) mean the same thing, what separates the two expressions is the country from which they originate. Sandra Cinto, Albano Afonso, Rita Gaspar Vieira, and Nuno Sousa Vieira are all artists who come from different places of birth, but share a common experience. Ateliê do Rego is currently hosting a group exhibition curated by Ricardo Escarduça, where four paths and two universes – Brazil and Portugal – intersect.

The exhibition commences with affective alliances, as Rita Gaspar Vieira and Nuno Sousa Vieira invite Brazilian artists Sandra Cinto and Albano Afonso to showcase their work in Portugal. De ponta cabeça starts from the two invited artists, and the works by Rita and Nuno were chosen based on what Sandra Cinto and Albano Afonso decided to display. It is hosted at the shared studio of Rita Gaspar Vieira and Nuno Sousa Vieira, challenging the contemporary art exhibition paradigm. The exhibition text explicitly states that this is a friendly venue and that the show is done among friends.

Sandra Cinto’s work proves the impact of Japanese engraving, with a focus on precision, minimalism, and delicate, flowing lines skilfully rendered on both paper and fabric. On one hand, there are two Indian ink drawings on Japanese paper that depict compositions resembling waves and whirlpools of a turbulent sea. When the lines meet, the black ink becomes more intense. This creates two small compositions with magnetic points, guiding the viewer’s gaze towards the movement of the drawing. Peça de resistência (2023) is created using old Japanese fabrics with dark blue patterns, creating embroidered with lines that resemble whirlpools or a starry sky. The piece’s resistance is evident in the patches ornamenting the drapery. These bring to mind the Japanese technique of Kintsugi, which involves using gold or silver to mend broken ceramic pieces. The artwork titled Japonismo (céu e mar) features a mirror-like effect between the sea and sky. The composition is similar to the previous one, but this time it is created on Japanese paper.

In Sonho conflito (2023), a work by Rita Gaspar Vieira, the colour blue dominates the landscape. Three eucalyptus trunks have been painted blue and serve as a backdrop for the artist’s works on cotton paper, which are suspended from them. The lengthy paper strips reveal stains and impressions from the location where they were handled, as well as the techniques used during the process. Our eyes recognise the scraps of a bottle of water that was on the surface where the paper had landed. The use of water is a recurring technique with Rita Gaspar Vieira. The artist contemplates the duality and conflicts that arise from her artistic practice, while also acknowledging the ecological issues that stem from the widespread planting of eucalyptus trees for paper production. When considering the potential for an environmentally-friendly approach to paper production, a new issue arises: water consumption. The blue colour of the eucalyptus wood conveys a sense of suffocation, yet it also resembles the sky and dreams. This creates a utopian atmosphere that reflects the artist’s effort. Rita Gaspar Vieira’s output is thought-provoking as it presents multiple perspectives. Her use of plastic is so prominent that it is impossible to ignore it while looking at her work. The artist’s intention is made clearer in Avessa (2015), where the process of paper production is used to imprint the marks of a plastic bag.

Nuno Sousa Vieira is for the first time displaying a piece titled Azul em fuga / Lastro from 1993. This work explores the colour blue as a medium for creativity, evoking dreams, water, and fluidity. It consists of two watercolour pieces dominated by a blue tone that covers almost the entire surface. Nuno Sousa Vieira has a keen interest in exploring the different layouts that can be formed by a single object. This work is no exception as it presents several postulates. The front and back can be interchangeable, and what is hidden can be revealed, or vice versa. Following the same concept, Draw Main Window (2014) is a sculpture specifically shaped to fit the windows of the Espacio Olvera gallery in Seville, where it was first displayed. It was made using multiple mirrors, glass, and hinges. It allows for the manipulation of its presentation, altering the viewer’s perspective when looking through the window. Nuno Sousa Vieira has a unique perspective on the value of a view as an economic asset, believing that it can significantly impact the price of a house. In fact, he has turned capitalist logic on its head by creating opportunities for people to enjoy views that were previously inaccessible. For instance, he has made it possible for people to gaze at the sky from locations where it was once difficult to do so. For this exhibition, the artwork extends beyond the window and spreads out on the floor, disrupting our perceptions of what we observe and how we perceive ourselves. The piece is made up of glass that was originally part of his studio in Leiria. It bears dirt marks that serve as a lens, highlighting the unique features of a particular location.

Albano Afonso incorporates photography into his work as a means of contemplating time and our subjective perceptions of it. Espaço a – abstrato – RGB (2019) consists of two photographs captured in front of mirrors. The images are created by overlaying multiple primary colour filters. These layers interact to produce new colours, but also purge others, resulting in black spaces where they intersect. Albano Afonso has produced two images that challenge conventional notions of colour and reality. These offer a visual encounter that can suggest a sense of fluid, non-linear time. When a photograph is transferred from the wall to translucent fabrics suspended from the studio’s ceiling, it takes on a new form. The work undergoes a metamorphosis where the photograph is liberated and transformed into a three-dimensional, immersive medium, promoting our reflection on the intricacies and fluidity of time.

What unites the works of these artists is their intricate layers and unfolding narratives. De ponta cabeça is an artistic encounter that brings about plastic confrontations, amidst the time-consuming gesture of drawing, the process of papermaking, the fragmentation of reality, and the multiple layers of time. Despite the contrasts, we can recognize the harmony and complicity between the artists through the layers of memory, time, and places.

The exhibition De ponta cabeça is currently on display until June 30 and can be visited by appointment.