Helena Almeida
Inside Me, 1999, Fotografía
The concern for the feelings, isolation, loneliness and breakdown are some of the themes in the transferable work of Portuguese artist Helena Almeida (Lisbon, 1934).
"My work is my body, my body is my work." With these few words, Helena Almeida tries to summarize the contents of an exhibition where the artist is the object portrayed. Although at different stages of their lives has turned to sculpture and painting to demonstrate, the picture is the language in which Lisbon has epitomized the creative forms of artistic expression. Almeida
one is always portrayed in his photographs. His way of working is quite peculiar. She thinks about a topic. Draw sketches innumerable staging. Decide how you will pose. Find the technical solution and finally her husband, fellow artist Artur Rosa is responsible for triggering the Nikon camera. After the development is done in the same study with working from the seventies. Almeida explains why her husband is responsible to portray: "It is important that the photos take place in physical space in which thought and planned and, therefore, has to be someone close to me." And no closer to her than Arthur. Married very young, walk these days Madrid, holding hands as if they had just met.
Although he never raised his photographs used in another model that is not it, the artist says he has nothing to do with narcissism and self-centeredness: "It has to do with very young had to be a model for my father, the sculptor Leopoldo Almeida, which annoyed me a lot. And then, curiously, decided to be my own model. " Halfway between the performance (capturing a moment) or body art (body as a main protagonist), Almeida said he never wanted to be linked to trends or fads. Never been obsessed by post or be part of elites artísticas. Lo suyo es más una poesía callada y sensual con la que retrata sus sentimientos más profundos.La obra Dentro de Mim forma parte de la exposición Muito Obrigado que tiene lugar en el DA2 y está formada por artistas portugueses que integran la colección de la Fundación Coca-Cola y el DA2 de Salamanca.
