Hi.. it's so formal here..

I'm Pedro Moura, more commonly known as atlas.numberone, a Lisbon based artist and writer creating and studying everyday. My work uses medium freely focusing instead on the concept and intention. Conceptual art and the deconstruction of the anthropocene somehow always finds a way in the work.Born and raised in Sintra, Portugal.

Feel free to reach out for any inquiry, question, offer or work.

[email protected]

Work

Participation in the Photography Prize of 2023 Exhibition
Pieces from 'Polaroid P' - '0, only black' and '105 mm, a light'
MU.SA - Sintra Arts Museum
Sintra, Portugal
June - July 2024

Sale of the Piece 'All Essentially Nothing, None Of It Lasting'
GAB-A, Fine Arts Open Gallery
Lisbon, Portugal
2023

Education

Cultural and Educational Promotion and Development of Archives and Libraries (Post-Graduation)
Autónoma University - Autónoma Academy
Lisbon, Portugal
2026

Painting (Masters)
University of Lisbon - Faculty of Fine Arts
Lisbon, Portugal
2024 - TBC

Transversal Painting Studies (Minor)
University of Lisbon - Faculty of Fine Arts
Lisbon, Portugal
2024

Multimedia Art (Bachelor)
University of Lisbon - Faculty of Fine Arts
Lisbon, Portugal
2024

Painting (Bachelor) - unfinished
University of Lisbon - Faculty of Fine Arts
Lisbon, Portugal
2021

INDEX

The INDEX project is a list of themes, interests, wonders and research points linked by aesthetic, plastic or technical aspects that here take the roll of 'PROJECTS'.
The list is meant to be a guide for understanding the atlas.numberone projects by cataloging the works together. Each artwork has a 'PROJECT' attached to it that can be understood by the sum of its parts and fragments or, simply, by works.
For example, 'Polaroid P' (2023) and '39 Objects' (2023) are part of the main project '19 EVERYTHING, an Artpop Project'. Both of these works have the same number, 19 and can be linked to each other via this same number. Works from the same 'PROJECT' can be viewed to further understand its themes and focus points.The development of the INDEX was made in 2021 during the making of 'BOOK1', from '00, ATLAS.NUMBERONE'. It took inspiration from the Martin Margiela numbering system for clothes and products. In the INDEX, each project is listed and numbered following an intuitive method of selection similar to synesthesia. The grouping of works into projects can be also linked to Aby Warburg's 'Atlas Mnemosyne' and made a comparison between his criteria and the criteria for the 'INDEX'.
While some numbers are direct projects, some, like the numbers 00 and 01 are general classifications for projects and works about the self, artistry and identity in the case for '00 ATLASNUMBERONE'; or about group projects, residencies and collectives in '01 GROUPS & COLLECTIVES'.The INDEX is a modular, ever changing project that will be updated as needed. The 'PROJECTS' can change name, be altered or modified in the future.

Index (Main Projects By Name)
Document
Lisbon, 2024

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00 ATLAS.NUMBERONE

Index number 00 is titled 'ATLAS.NUMBERONE'. It is a general classification for personal projects like logos, personal design books, documents like the 'INDEX' or any work independent from the indexed projects that have artistic identity or personal growth as their goal. Studio plans, organization and storage projects are also covered here. Portfolios and professional portraits are also 00.The main work from this project is undoubtedly 'ATLAS.NUMBERONE BOOK1' piece, a zine that's only objective is solidify the name Atlas.numberone as Pedro Moura's alias and main publication name.

Works in this project:

INDEX
BOOK1

ATLAS.NUMBERONE BOOK1

'Atlas.numberone BOOK1' is a design project from the 'ATLAS.NUMBERONE' project. 'BOOK1's purpose was to develop a simple design publication for the name Atlas.numberone. What ended up zine started as a couple of visual compositions with the logo applied in several contexts like name cards, posters, t-shirts and even a Ford wheel rim. Here, the objective is to solidify the name Atlas.numberone as Pedro Moura's alias and main publication name.A logo for Atlas.numberone was developed especially for 'BOOK1'. The logo was inpired by Kodak's vintage logo and Nintendo's present one. The bubble logo created here is no longer in use and instead Atlas.numberone is referenced by either a Helvetica heavy-stroke lettering (debuted in 'A Magnolia in Korea', 2023) or a Times New Roman lettering same as the current website.The design project was accompanied by numerous references of research like Andy Warhol's affirmation of his name as a business and marketing resource, Martin Margiela's index of products and items (main inspiration for the 'INDEX'), Wolfgang Tillmans and Aby Warburg's 'Atlas Mnemosyne' and its definition of visual connections (also referenced in the 'INDEX').In the third photo, there's a collection of items where the developed logo was applied to and used freely as an act of self affirmation (as an artist, individual and identity).

ATLAS.NUMBERONE BOOK1
Zine
Standard printed paper, clear tape.
29.7 x 21 cm. 20 pages. Unbound.
Lisbon, 2021

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00notes

Notes on form, shape and identity.Index representation schematics.

00notes
Drawing
Ink on paper.
29.7 x 21 cm. 5 drawings. Unbound.
Lisbon, 2024

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01 GROUPS & COLLECTIVES

Index number 01 is titled 'GROUPS & COLLECTIVES'. It is a general classification for group projects, collectives or projects that view collaboration as the goal. The objective of these projects is always to bring people together. This union can be made through art, interactive systems and projects, political initiatives and such. Together we can build a better community.

Works in this project:

THE LISBON PROJECT

THE LISBON PROJECT

'The Lisbon Project' is a networking community project classified as a 'GROUPS & COLLECTIVES' project.
The project involved the creation of a net of artist, singers, writers, creatives and designers from Lisbon via an instant photograph with graphics, names or doodles drawn directly on the film.The photographs were intended to be taken personally with the artists but due to the health context, the SARS-COV-2 pandemic, the photographs were instead made at home by taking pictures of the artists through a screen. This change brings up new conversations about the relations artist keep through times and challenges and encompasses the effort creatives make to connect in the art world.The work was developed following the Drift theory and methodology with 14 places (in this case, people).
Artists in the project include Marc(flor), Antematterz, Dipsy, Indira, Hugo, Henri, Sam, Ecstasya, Gus, Manuel, Calmness, my brother, Tomas and myself. The project is meant to be expanded through the years and looked as a contact list of sorts. To connect.

The Lisbon Project
Dye diffusion transfer prints (Instax Fujifilm), cardstock.
8.6 x 10.8 cm. 14 photos. Held by rubber band
Lisbon, 2021

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07 BLUE7

Index number 07 is linked to the 'BLUE7' project and is the first project idealized. The project is a pretext to use and study the capacities of the color blue.'BLUE7' doesn't have defined themes but recurrent aspects like the references to vending machines and Neon Genesis Evangelion, the monobloc chair, the revisiting of childhood traumas and depressions, the (somewhat childish) affirmation of artistry and constant search for identity and from a technical point, the collecting of blue objects and consequential coloring of things in an Yves Klein blue (normally via an external source) in a reference to Helena Almeida.'BLUE7' has two periods: the 'Painting at FBAUL' phase that includes the Vending Machine study in 'Consumidor Final' and the planned exhibition of 'Practical Guide To Walking Though Glass' and the former phase that is closer to 'GREEN3', 'RED4' and 'IELOW1' whose objectives are less direct but a general study of color, in this case, blue.

Works in this project:

PRACTICAL GUIDE TO WALKING THROUGH GLASS [Selected Works]

'Practical Guide to Walking Through Glass [Selected Works]' are a group of pieces from the 'Practical Guide to Walking Through Glass' exhibition project following 'Consumidor Final' all inserted into the 'BLUE7' project. The works selected are some blue and black paintings along with the glass collages.These pieces speak to 'BLUE7's theme of childhood and artistry and depict the precise emotions of transitioning from childhood into adulthood in the context of making art. The childish affirmations of 'I WANT TO BE AN ARTIST' and references to family members are connections to this feeling. The portraits of '1989, Mother' and '2003, Brother' view artistry and the act of creating in a personal, dutiful and inherited way while searching desperately for a singular personal artistic expression.Adjacent to 'BLUE7' themes, especially in the 'Painting at FBAUL' period of BLUE7, is a conscious revisiting of childhood and past that visually takes form in blurs of color, carefree strokes and lines and a use of cheap materials like plastics and spray paint. These materials can also be viewed as biographical ones given the clear inspiration from graffiti.The pieces were mostly made during the first semester of painting at FBAUL and also document insecurities, doubts, wants and personal goals all written and exposed in the art.

(first gallery)
BLUE PAINTING 1
Spray paint on paper.
120 x 100 cm.
Lisbon, 2020BLACK PAINTING 1
Spray paint, marker and charcoal on paper.
120 x 100 cm.
Lisbon, 2020BLUE PAINTING 2
Spray paint on paper.
120 x 100 cm.
Lisbon, 2020BLACK PAINTING 2
Spray paint and charcoal on paper.
120 x 100 cm.
Lisbon, 2020

(second gallery)
1989, Mother
Collage on glass (tape, plastic, printed paper).
100 x 65 cm.
Lisbon, 20202003, Brother
Collage on glass (tape, plastic, printed paper).
100 x 65 cm.
Lisbon, 2020I Want To Be An Artist !!!
Collage on glass (tape, plastic, marker).
100 x 65 cm.
Lisbon, 2020An Artist (SMILE)
Collage on glass (marker, sticker).
100 x 65 cm.
Lisbon, 2020

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OBJECTS, IN BLUE

'Objects, in blue' is an artist book project from the 'BLUE7' project. The piece features black and white 35mm film prints of some objects used in 'Practical Guide To Walking Through Glass' and three overlays spray painted blue to offer the possibility of 'coloring' to the black and white prints.All the objects photographed are blue and were selected especially for that reason. The work was developed from scratch and included not only the taking of the photographs but also the development of the film, exposing of it and printing of the film in photo sensitive paper using an enlarger in dark room. Due to the restrictions of the lab, only black and white photography was possible. This inspired the idea of one of 'BLUE7's themes - coloring blue.Close to the performance piece 'Blue7' (2022) where plastic crates are stacked and given a Yves Klein blue coloring via an external source, 'Objects, in blue' (2022) suffers the same treatment here given by a transparent film spray painted blue. A full blue overlay was made along with a horizontal and vertical gradient.

Objects, in Blue
Artist Book
200g printed paper (single sheets)
Blue spray paint on transparent film (blue overlays)
Blue spray paint on 220g tracing paper (envelope)
23.5 x 19.5 cm. 19 pages. Unbound.
Lisbon, 2022

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02 SOUL PRAY

Index number 02 is referred as 'SOUL PRAY'. 'SOUL PRAY' is a project involving spiritual themes such as religion and human connections to metaphysical realms of reality. The project explores religion in a free and open way in many ways simply referring to existing iconographic objects and visuals.Due to its sensitive theme, 'SOUL PRAY' is most times a passive theoretical-practical project involving research and a piece resulting of such research. The project also focuses on ancient domestic religion and therefore uses similar textures and materials like clay, textiles and wood.

Works in this project:

SANTERIAS DA AVÓ E ARTE GÓTICA

'Santerias da Avó e Arte Gótica' is an artist book project from the 'SOUL PRAY' project.

Santerias da Avó e Arte Gótica
Zine. Inkjet on 90g paper.
29 x 20.5 cm. 11 pages. Accordion binded. Color.
Lisbon, 2023

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03 GREEN3

Index number 03 titled 'GREEN3' is, like 'BLUE7', a aesthetic-leaning visual research project involving the color green.
Thematically, its works tackle nature and identity but the themes are not 'GREEN3's main focus. Like the other color projects, the color being it 'GREEN3', 'BLUE7', 'RED4' or 'IELOW1' are a pretext to explore the plastic and visual capacity of each color joining it with some kind of personal symbolism. Here green is often used to explore nature and its pixelization, mental health and tourism. 'GREEN3' is a big essay on the color green.'GREEN3, the zine' (2023) was the first work done under this classification and is a hybrid work in dynamic with 'THE FUCKING INTERNET'.

Works in this project:

GREEN3, THE ZINE

'GREEN3, the zine' is a self publication project from the 'GREEN3' project. The zine is a 12 page A4 unbound booklet involving themes close to the 'GREEN3' project like the digitization of nature, human existence in the internet world and the free use of memes as complex visual manifestations.This last point is the main focal point in the zine. The pages are composed with found images altered from the internet and in close relation to them are memes used to give context and ambiguity to the GREEN3 experience and interpretation. With this, the goal is to emancipate the use of memes in art and view them as anthropological and sociological events where humans are connected despite distance and together find something to connect with. Memes are visual ways for people to express, in a playfully hidden way, personal truths about their mental health and well-being that can resonate with other users alike. The GREEN3 zine tackles exactly this and is in a lot of ways, a dump of identity and mental health in meme form.The 'GREEN3, the zine' is also referenced in 'THE FUCKING INTERNET' project due to its close relation to meme culture and the internet. Some polaroids taken for 'Polaroid P' are referenced here.

GREEN3, the zine
Zine.
Inkjet on 90g paper.
28.5 x 20 cm. 12 pages. Unbound. Color.
Lisbon, 2023

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19 EVERYTHING, AN ARTPOP PROJECT

Index number 19 titled 'EVERYTHING, An Artpop Project' is a transmedia project focusing on the assessment of tools for creation.
'Tool' here is understood by idea of whatever object or the thing that can start the act of creation. In these works, the themes 'analog', 'transmission', 'inspiration', 'deconstruction' and 'ground zero' are explored.Adjacent to this is also the act of collecting (similar to the act of creation) asking the viewer to consider these 'tools' for what they are, for why they are together and for what they can end up being. This idea, inspired by O.O.O (object oriented ontology) lets visual cues, objects and tools exist as independent beings outside of the anthropological view we humans give them. The objects are collected as vessels for art making and are simply stated, waiting to be pondered. These 'things' take on a life and an importance of their own especially now that they're here arranged, classified, documented and studied.'EVERYTHING' is also a start for the work that followed. It encompasses personal feelings never fully understood that assume full visual presence to project a idiosyncratic array of statements about atlas.numberone as an artist.
The work is a visual study about the object (its place and importance), creation, plurality and self-identity.

Works in this project:

CAN I HOLD THE MIC

CAN I HOLD THE MIC

‘Can I Hold The Mic’ is an executable program made for the project 'EVERYTHING, an artpop project' and first ever 'EVERYTHING' piece. The piece explores issues related to identity through visual and sound elements expanding the world of Solange's 'When I Get Home' album and feature's the track 'Can I Hold The Mic (interlude)' which is the focal point of the work.The project concept is better understood by analyzing the references used. However, in short, 'Can i Hold The Mic' explores feelings of plurality and individualism in human beings, expressing Almada Negreiros' theory 1+1=1. The thought that a human is more than just 1 and cannot be represented or thought of as a singular, but rather a plural and fluid being paradoxically aware of its own individuality.
The theme raises questions given its paradoxical expression, which is why numbers, lines and graphics are used to represent it. Personally, it is a concept that is firmly rooted in my identity and that goes back to issues of gender or the lack thereof - non-binarity, sexuality, self-expression, number, psyche, artistic creation and well-being in society. The piece sits in a limbo of subject, of theme, of classification and of existence in the art world. The point of the piece is to give a home to this interlude and therefore give a home to the thought of plurality.Platform made in Unreal Engine
Buttons made in Blender
Menus made in PhotoshopSong by Solange Knowles - 'Can I Hold The Mic (interlude)'

Can I Hold The Mic
Executable program
Unreal Engine
Executable platform for ‘Can I Hold The Mic’ by Solange Knowles
Lisbon, 2022

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ALL ESSENTIALLY NOTHING, NONE OF IT LASTING

‘All Essentially Nothing, None of it Lasting’ is an artwork made for the project 'EVERYTHING, an artpop project' using photographs of '39 Objects'. In the piece, some objects from the 'EVERYTHING' collection are used and arranged in A4 standard printing paper sheets and assembled with clear duct tape to black cardstock.The objective of the work was to interpret the objects side by side in a direct proximity dialogue. Along with the photographs of the objects, pieces of text from the 'Life Diary' are also featured.Here the work takes form in the A4 sheets which can be arranged differently. In 'All Essentially Nothing, None of it Lasting’, the shape the paper takes is a rectangle. An instruction document was made so the installation of the paper was done correctly. More iterations of the 39 OOBJECTS can be made following different instructions and ways of arranging.One of the reproductions of the work was sold at the 2023 GAB-A event (Galerias Abertas Belas-Artes, at FBAUL).

All Essentially Nothing, None of it Lasting
20 A4s in printing paper, black cardstock, various sizes of duct tape
1 of 4 reproductions. mounted originally in 100 x 160 cm
Lisbon, 2023

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NEWFISH1983

‘Newfish1983’ is a happening piece made for the project 'EVERYTHING, an artpop project'. What started as an attempt to condense a computer in an epoxy resin box, ended up a conversation between technology and nature joined by the concept of ‘conductor’. In this piece this juxtaposition is the focus: two vessels in contact with each other in a deep parallelism or simile of connections and vessels - water and cables, one for life in nature and the former for our new developed one, technology.The name given to the piece is a play on fishing given by the water (ice) used where fish are replaced by old cables. The happening consists of the melting of this block of ice containing old technology conductors / connectors like cables and plugs. This also brings up interpretations with ecological connotations related to bioart and pollution.‘Newfish1983’ (Pescanova) is documented through a time-lapse recording the melting of the ice block and a group of photographs taken at different times during the happening.

Newfish1983
Happening
Cables and plugs in ice on double pane glass, melting.
Recordings in video and digital photography
Lisbon, June 22th 2023

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39 OBJECTS

‘39 Objects’ is an artist book piece made for the 'EVERYTHING, an artpop project'. '39 Objects' is the main project in the 'EVERYTHING' development. With the notion and research of O.O.O (Object Oriented Ontology) in mind, the following step was the unconscious collection of objects linked to the ideas of 'tool', 'vessel', 'circle', 'analog' and 'transparent'. '39 Objects' is the assessment and documentation of this collection along with the study of these collected objects.The stages of collecting were simple, objects like cameras, lights, cables, core hardware, glass objects (transparent), circular and spherical ones, literature references, vinyl records of certain albums, cassetes, used rolls of film, a glass brick, interesting looking postcards and newspapers - all these things had an untold connection and needed to be documented and cataloged to further understand the concept of 'EVERYTHING'. This was made with the development of an information sheet what was filled following intuitive descriptions of function, purpose, real name, given name, justification for collection, volume, measurements, number of parts, dates of archival and acquisition along with notes about whether the object emits light or sound.The documentation also implied a photographic entry which here was a zoomed in blown out representation of the object. These pictures were later used in the work ' All Essentially Nothing, None of It Lasting' (2023). Some of the objects were victim of further investigation some even being main points for works like 'Polaroid P' (2023) from the Polaroid camera in the collection and 'Can I Hold the Mic' (2022) from the When i Get Home record.The objects were used as inspiration for a sound composition where each object was turned into a sound in '39 Objects, in sound' (2023).

39 Objects
Artist Book
Spray paint on cardstock (box).
Black pen on standard printed paper, painter's tape (files).
30 x 21 cm. 39 pages.
Lisbon, 2023

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POLAROID P

‘Polaroid P’ is an experimental photography group of artworks made for the 'EVERYTHING, an artpop project'.The work started with the acquisition of the object Polaroid P, a chrome body instant camera featured in '39 Objects'. The study of the object was made using itself, that is, by instant photography. By studying the camera, the pieces started to become simplifications of the properties of any photo taking device by color, light and clarity.
A round film was chosen to reference the lens and lens-mount.The 'Color' panel was made by taking photos of brighten up solid color films in an attempt to photograph pure colors like red, yellow, green and blue. These are also the same colors as the 'INDEX' color focused projects.The 'Light' panel was achieved by photographing a light source through several tubes of cardboard. The tubes ranged from 10cm to 200cm.The 'Clarity' panel was fruit of several experimental tries and finds in the lab with portuguese experimental photographer José Luís Neto's aggressive aproach to photography. The result was scratched films and cut pieces along with irregularities and expired film.Photos 'Black 0, só escuro' and '105mm, uma luz' (first and fifth in the 'Light' glass) were selected to be included in the 2023 Photography Prize of Sintra to take place at MU.SA soon.

Polaroid PColor
Dye diffusion transfer prints (polaroid) mounted on glass.
15 x 90 cm
Lisbon, 2022Light
Dye diffusion transfer prints (polaroid) mounted on glass.
15 x 90 cm
Lisbon, 2022Clarity
Dye diffusion transfer prints (polaroid) mounted on glass, large format photo film.
15 x 90 cm
Lisbon, 2022Instructions
Found Object
Scan (detail)
Lisbon, 2022

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39 OBJECTS, IN SOUND

05 VERTEBRAE

Index number 05 is the narrative leaning project of 'VERTEBRAE'. It follows a fictional story about a captive cyborg victim to daily abuse who manages to escape from her abuser into the never seen before nature.The escape from the patriarchal captor is the focus of the narrative along with the interactions this artificial being has with the lush nature who embraces her fight. The story is a motif for all the work done under 'VERTEBRAE' that explores the Anthropocene, the return to Nature, the visual and textural contrasts between the artificial and the organic, the body and its skeleton and Nature as a healer while commenting on abuse, sexism and technology.
In 'VERTEBRAE' Nature is a sanctuary for healing trauma and a new ground for the matriarchy to build a new future.'VERTEBRAE' is in development at the moment. Works in the form of an installation and a novel are being made.

Works in this section:

VERTEBRAE, THE PHOTOBOOK

'VERTEBRAE, the photobook' is an artist book piece project from the 'VERTEBRAE' project. The photobook is a narrative book made by the arrangement and curation of images from the internet and image archives to illustrate the 'VERTEBRAE' storyline.The images are selected by proximity to the events taken in 'VERTEBRAE, the novel' and are layered with scientific drawings, anatomical schematics, maps and information that can, in juncture, be recognized as a picture book for the narrative.
The making of the photobook was at first a curational exercise of selecting images and pictures, maps, schematics and documents and only after, the piecing together of this collection to make a precise visual storyline.This selection was done with the principle of 'no image is more image than another', something apparent in the flow of the photobook. Close to 'GREEN3, the zine' (2023), the work uses image in a new, post-image, post-internet context allowing the re-contextualization of images, themes, pictures and iconography.The development of 'VERTEBRAE, the photobook' was made before the release and conclusion of 'VERTEBRAE, the novel'. The photobook is also a visual guide for the writing of the novel.

VERTEBRAE, the photobook
Inkjet printed on 100g paper. Cardstock. Bound with thread and gauze.
26.5 x 20.5 cm. 48 pages. Color
Lisbon, 2023

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VERTEBRAE, THE INSTALLATION

'VERTEBRAE, the installation' is an exhibition project featuring various works from the 'VERTEBRAE' project.
The installation consists of all the work done under number 05, VERTEBRAE like 'Vertebrae, the photobook', 'Sound Of The Rib I', 'Sound Of The Rib II', '10 Omens In Glass', 'Paperweight' and 'Vertebrae, the showcase'. The installation results from the junction of all these smaller projects to create something bigger and to emulate in some way, the world-building in 'Vertebrae, the novel'.There is a strong need to prove the fictional storyline, similar to 'Vertebrae, the photobook', a want to make tangible the imaginary events in the novel. While the photobook took images from the internet, archives, documents using image to sketch the narrative, the installation deals more with the remains of 'VERTEBRAE'. Close to this idea of remain, comes a particular aspect of the installation - the notion of fictional archaeology. This is made by crafting abstract and figurative ambiguous 'remains' that take form in ready-made objects or clay sculpted ones, object collages and simple object collecting.The objects were later compiled in 'Vertebrae, the showcase' where they were organized following intuitive compositions inspired by archaeological museums and museological ways of displaying such as the use of a showcase. The showcase is perhaps the main focus of the installation, a focal and center point in the use of space.
In constant reference with the body and the particular the bones, the viewer is left wondering what could be behind these remains and the stories they may represent. This idea is simply a three-dimensionalization of the photobook, where objects such as a plastic model of a vertebrae column, mirrors, a humanoid clay figure or a trapped sheep illustrate the 'VERTEBRAE' storyline.The installation took place in 2024, at the GAB-A exhibition at Faculdade de Belas-Artes de Lisboa. Models were made for the purpose of studying not only how the installation would take place but to study it's limitations and possibilities.

VERTEBRAE, THE INSTALLATION
Featuring works:
'Vertebrae, the photobook'
'Vertebrae, the showcase'
'Sound Of The Rib I'
'Sound Of The Rib II'
'10 Omens In Glass'
'Paperweight'

VERTEBRAE, the showcase
Found objects, aluminum, plastic, acrylic, clay, thread.
87 x 90 x 51 cm
Lisbon, 2024

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10 OMENS IN GLASS

'10 Omens In Glass' is an artist book piece project from the 'VERTEBRAE' project. The work is consisting of ten cybersigilism drawings used or collected during the making of 'Vertebrae, the photobook'. The cybersigilisms are used in the 'VERTEBRAE' project as fates or omens predicting the storyline in a subjectively ambiguous way and here, they are present as standalone drawings each with it's own presence.The pages are made of thirteen by eighteen centimeter sheets of glass and the drawings are painted on the surface in white. The brushstrokes are visible as to directly tackle the relationship between the originally unknown internet images and its hand painted manifestations here.
Along with this deconstruction of the digital there is a deconstruction of the artist book idea rejecting the use of paper. Taking it a step further than 'Paperweight', the idea of a box is now gone, leaving the now transparent pages completely loose. For the purposes of storage and as a second house for the pages, a wooden mount was made with slots for each sheet.A zine featuring scans in black and in white backgrounds is in the making.

VERTEBRAE, the installation
Painted glass, wood mount.
15 x 20 x 6 cm. 10 pages.
Lisbon, 2024

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PAPERWEIGHT

'PAPERWEIGHT' is an artist book piece from the 'VERTEBRAE' project.
The work is a box made of air-dry clay with 14 pages from 'Vertebrae, the photobook' depicting IDs, living documents and proof of existence from the cyborg being, main subject in the 'Vertebrae, the novel' with a humanoid paperweight made of clay.The work plays on the idea of weight as a weapon or as a power pitting a cyborg through its documents and a humanoid figure object who, in this case embodies the weight over the paper. The relationship between the paperweight and the documents bares a parallel simile that is the main storyline of the VERTEBRAE project.Thought-out an artist book, the work deconstructs the idea of the traditional book resulting in loose pages and a box container. The paperweight is also a direct reference to the 'fictional archaeology' objects mounted in the showcase in 'Vertebrae, the installation'.'PAPERWEIGHT' was also shown along with '10 Omens In Glass' and 'Vertebrae, the photobook' during the 2024 GAB-A exhibition and was part of the 'Vertebrae, the installation' work.

PAPERWEIGHT
Inkjet printed on 100g paper. Clay, plastic film.
20 x 16.5 x 2 cm. 14 pages in color
Lisbon, 2024

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SOUND OF THE RIB II

'Sound Of The Rib II' is a ready-made piece from the 'VERTEBRAE' project.
It consists of a standard wind-chime mounted somewhere (here it is mounted on a tripod). The piece in the context of the installation is a life bearer, producing sound.The wind catcher portion is a round wooden disk of two faces where two cybersigilisms featured in 'Vertebrae, the photobook' and in '10 Omens In Glass' depicting life and death. The painted disk drives the center sphere with the wind producing sounds on the brass tubes.'Sound Of The Rib II' was also shown along with 'Vertebrae, the showcase' and 'Sound Of The Rib I' during the 2024 GAB-A exhibition and was part of the 'Vertebrae, the installation' work. In the GAB-A installation, the wind-chime piece was in a direct relation with 'Sound Of The Rib I', placed between the viewer and the drawing work asking the viewer to consider the two as a whole. This pairing also touched on the idea of fates and omens, present in the whole project of 'VERTEBRAE'.

Sound Of The Rib II
Windchime. Brass, thread and wood.
60 x 8 x 8 cm
Lisbon, 2024

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SOUND OF THE RIB I

'Sound Of The Rib I' is a drawing on canvas piece from the 'VERTEBRAE' project.
The work depicts the main character from the 'VERTEBRAE' world-building during their last moments similar to the last pages of 'Vertebrae, the photobook'. The resulting work is a sketch drawing in Indian ink and charcoal on raw cheap canvas.The drawing's themes of calm at a time of panic are accentuated by the vast blankness surrounding the subject along with the double visual effect resulting from a duplication of lines. The piece is an ephemeral sketch of a moment in the narrative and in a lot of ways, was made specifically as a rough fictional portrait which was a driving desire for the making of VERTEBRAE and 'Vertebrae, the photobook'.'Sound Of The Rib I' was also shown along with 'Sound Of The Rib II' and 'Vertebrae, the showcase' during the 2024 GAB-A exhibition and was part of the 'Vertebrae, the installation' work. In the installation, the piece is in direct dialogue with 'Sound Of The Rib II' in a junction relating to the concept of omen and fate given the events of 'Vertebrae, the novel'.

Sound Of The Rib I
Indian ink and charcoal on raw canvas.
190 x 150 cm
Lisbon, 2024

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MODELS AND VARIOUS PROPOSALS FOR THE INSTALLATION

The following, 'Models and Various Proposals For The Installation' are some drawings and tridimensional models made for the understanding and planning of 'Vertebrae, the installation'.The model, particularly the bigger model, made roughly in a 100 : 2,5 cm scale, is mockup of an ideal interior for the VERTEBRAE objects to inhabit. In it, 'Vertebrae, the showcase' is a small black table and the 'Sound Of The Rib II' wind-chime, a mere gallow. The model also featured miniature versions of the drawing 'Sound Of The Rib I' and a small plinth for the artist books planned to feature in the installation like ' Vertebrae, the photobook', '10 Omens In Glass' and 'Paperweight'.The model was also a tool for exploration with the already made work. This is evident by the dramatic use of the intervened plastic object, the main vertebrae column, the subject in 'Vertebrae, the showcase'. A model of a column was made specifically for a proposal of a hypothetical oversized vertebrae but was later ditched using the actual object from the showcase piece. The chained plastic vertebrae was too big for the sizes made in the model which led to an extension of the interior architecture and the main visual interest in the model, the through the window placement.
The placement exaggerates the model turning it into not only a tool but beyond, into a standalone work. The contrasting relation between object sizes, between the tiny showcase and the (in the model perspective) giant column is a clear focus.Along with the bigger model, a smaller, tinier one, made for the GAB-A exhibition, featured the same sized objects in a smaller interior, the one assigned for the collective showing. While the bigger model lives in an atmosphere of possibility, the second model was actually realized in 'Vertebrae, the installation'.

Models and Various Proposals For The Installation
Lisbon, 2024

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THE LISBON PROJECT
THE LISBON PROJECT
THE LISBON PROJECT
THE LISBON PROJECT
THE LISBON PROJECT

17 THE FUCKING INTERNET

Index number 17 'THE FUCKING INTERNET' has the world wide web as its theme.In this project, the post-internet world is explored, questioned and sometimes desired. In the middle of reflections about our identity as avatars, the internet is taken as the new normal and as a place we can connect to others. Adjacent to this are also the problems of loneliness, of simplification of humanity and social interactions, the wonder over relatability and shared personal feelings. The meme is also explored as a post-modern image and as a new sociological development.Aesthetically, the project assumes pixels, lines, memes, text emojis and other common characteristics of websites and platforms as plastic key elements to create.

Works in this collection:

VIDEO ART

A collection of video artworks made from 2021 to 2023 showcasing the personal exploration of the medium and it's particularities as a visual plastic resource. The word has a big role in some of these works especially in pieces like 'Now It Holds Our Memories' and 'Pretty Picture With a Quote' acting as an added layer of concept creating a dialogue between the moving image and the static word.Most works use the video's most functional aesthetics such as start menus, settings, UIs and such making these films acquire a feeling of deconstruction and personal exploration of the camera. Others focus on camera work and technical aspects of cinematography or editing.

Works in this collection:

UNDO (THE BJÖRK VIDEO)

'Undo (The Björk Video)' is a video art piece that focuses on the errors, glitches and the visual deconstruction of the screen. This intention is achieved using footage of streaming irregularities from old televisions and other found footage. This 'visual pollution' is accompanied by a recording of Icelandic artist and singer Björk Guðmundsdóttir telling stories about her relationship with her television and eventually breaking it down to further understand how it works. The piece is in a lot of ways an homage to video.Voice by Björk
Piano by Ethel Cain - 'Televangelism'

Undo (The Björk Video)
Video, color, sound
3 min.
Lisbon, 2022

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NOW IT HOLDS OUR MEMORIES

'Now It Holds Our Memories' is a video art piece made of 790 family photos scanned individually. The name is a reference to Kate Bush's 'A Coral Room', a song about the death of a mother. The video piece is about the eternal instant of a photograph, immortality through image and the mark what we leave after death. Fragments of a family are shown in a moving overwhelming supercut of memory.
In memory of my grandmother.

Now It Holds Our Memories
Video, color, sound
2 min.
Lisbon, 2023

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A PRETTY PICTURE WITH A QUOTE

'A Pretty Picture With a Quote' is a video art piece consisting of a found footage and a fixed quote. The footage is a collage of a pastor recording their sheep herd through hills. These videos are played on a Cybershot camera from 2004 and then recorded through the view-screen letting the pixels and camera menus feature freely. The viewing of the sheep footage is filtered through the camera's technology in a visual commentary about experiencing nature through a screen - something all of us are guilty of.
The quote 'PLEASE, PICTURE ME IN THE WEEDS. BEFORE I LEARNED CIVILITY I USED TO SCREAM FEROCIOUSLY ANY TIME I WANTED' emphasizes this dynamic in a yearn for the past and the childlike notion of nature.

A Pretty Picture With a Quote
Video, color, sound
2 min.
Lisbon, 2023

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05 VERTEBRAE

(Post-Graduation)
University of Lisbon - Autonoma Academy
Lisbon, Portugal
2024 - TBC

THE INTERNET LOVE LETTER

'The Internet Love Letter' is a short film piece made for 'THE FUCKING INTERNET'. The short film uses found images from the internet as the basis for a reflective narrative about technology, the internet and their positive and negative impacts on our culture. Adopting a human and thoughtful speech, a robotic voice recites an original written script that touches on subjects such as ecology, love, relationships with others and the internet as an integral part of our daily lives.
Abstaining from the main concerns of cinematography, the project is made with an experimental and direct vision having its focus on the text. This script is written from the perspective of Oliver, a fictional character that writes an open letter to contest a (fictional) internet ban. On a white background, the subtitles complement and add to the robotic voice and, from time to time, images or videos appear that can illustrate the text or add ambiguous context.

The Internet Love Letter
Video, color, sound
7 min.
Lisbon, 2023

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A MAGNOLIA IN KOREA

'A Magnolia in Korea' is a video art piece made using Google Earth tackling some of 'GREEN3' themes, tourism and geography. Using a screen recording of the Google Earth website, the viewer is taken on a aerial view over North Korea and its elevations. Accompanying the viewer is a static pixelated drawing of a magnolia, a national and symbolic symbol for the union of North and South Koreas.
The work acts on the feeling of 'being' somewhere you've never been before.Music by His Name Is Alive - 'Lliadin'

A Magnolia In Korea
Video, color, sound
2 min.
Lisbon, 2023

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I START THE DAY HIGH AND IT ENDS SO LOW

'I Start The Day High And It Ends So Low' is a video art piece depicting a lonesome train station in the Lisbon outskirts by the name of Mira-Sintra / Meleças. The visuals and sound are in direct relation with the architecture of the station and also its appearance on screen. The work is inspired by the daily commute one takes everyday and how the empty atmosphere of a train station can often amplify burn out, depression and the tiring routine of work traveler. The title is also revealing of this and is a direct quote from Mitski's song 'Working for the Knife' that tackles the capitalist notion of work, and the participation in a system even though draining and life-ruining.

I Start The Day High And It Ends So Low
Video, black and white, sound
1 min.
Lisbon, 2022

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BLUE7

'BLUE7' is a performance video made for the project 'BLUE7'. It's inspired by the early 70's video art movement and takes direct inspiration from Bruce Nauman and his body action video pieces. In 'BLUE7' atlas.numberone is recorded stacking plastic crates of different colors to match a post-recorded shape in blue. As the artist builds these structures, there's a foreseeable idea of how the shape will turn out almost as if the performance is a simple filling in of the color with matter - one of 'BLUE7's recurrent themes, the action of coloring objects in blue via an external source or action.
In the piece there is a close relation between the action made for the camera (the stacking of crates) and the editing (the existence of a blue shape) fusing these two worlds - the before and after of video making.Music by Brian Eno's 'Music for Films'

BLUE7
Video, color, sound
9 min.
Lisbon, 2022

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O.O.O

'O.O.O' is a video art piece about the emancipation of the object from the human. This thought system is named O.O.O (Object Oriented Ontology) and consists in a shift of perspective of how we view things, objects, people and systems as independent beings outside of the anthropological view we humans give them.
This means acknowledging the function and importance of all things that surround us. This video piece is a summary of this research that touches on existentialism, deconstruction, plurality and a detachment from humanity in hopes to understand all non human things - post humanitarianism. All things are the same, none of them are more real than any other.
Visually this thesis is accompanied by a number of GIFs repeated and edited though the screen following no particular criteria. The words are not necessarily subtitles for they are also free from any human attachment.

O.O.O
Video, color, sound
1 min.
Lisbon, 2022

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'SHINJI - EP4. 雨、逃げ出した後'

'SHINJI - EP4. 雨、逃げ出した後' is a video art piece made from the 4th episode of the anime 'Neon Genesis Evangelion'. The work is a frame / take collage of a section of the episode where the main character, Shinji (recurrent in 'BLUE7') leaves his home to spend an indefinite time alone riding the train without a particular goal or destination.
In 'SHINJI - EP4. 雨、逃げ出した後', which translates from the Japanese to 'rain, after running away', the goal is a depiction of being lost adjacent to a need to runaway somewhere, only to end up exactly where one started.
This piece was made for 'BLUE7' particularly for the installation with the same name consisting of a television playing the video piece on loop and a white monobloc plastic chair directly in front of it.

'SHINJI - EP4. 雨、逃げ出した後'
Video, color, sound
1 min.
Lisbon, 2021

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PHOTOGRAPHY

THE LISBON PROJECT