Miguel Teixeira
Exposição DESENHO18 de Novembro a 3 de Dezembro de 2022Galeria de Arte - Estoril
Técnica/suporte: Grafite s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Técnica/suporte: Grafite s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Técnica/suporte: Grafite s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Técnica/suporte: Carvão vegetal s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Técnica/suporte: Carvão prensado s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Técnica/suporte: Carvão prensado s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Técnica/suporte: Tinta da china, esferográfica s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Técnica/suporte: Tinta da china s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Técnica/suporte: Esferográfica s/ papel Fabriano, 250g/cm2
Dimensões: 29,7 x 42 cm
Ano: 2022
Condições de pagamento:
Aquisição - sinalização de 50%
(Entrega da obra após o encerramento da exposição)
Miguel Teixeira
Arquitecto
Lisboa 13 de Agosto de 1982
Miguel Teixeira, arquitecto. Estudou em Inglaterra.
O seu modo de desenhar é revelador da disciplina da procura e do constante experimentar, bem como da exigência da estrutura projectual.
Exprime-se sempre pelo desenho.
“Learning to draw is really a matter of learning to see - to see correctly - and that means a good deal more than merely looking with the eye. The sort of 'seeing' I mean is an observation that utilizes as many of the five senses as can reach through the eye at one time. Although you use your eyes, you do not close up the other senses - rather, the reverse, because all the senses have a part in the sort of observation you are to make.”
Kimon Nicolaides, The Natural Way to Draw
“For the artist drawing is discovery. And that is not just a slick phrase, it is quite literally true. It is the actual act of drawing that forces the artist to look at the object in front of him, to dissect it in his mind’s eye and put it together again; or, if he is drawing from memory, that forces him to dredge his own mind, to discover the content of his own store of past observations. It is a platitude in the teaching of drawing that the heart of the matter lies in the specific process of looking. A line, an area of tone, is not really important because it records what you have seen, but because of what it will lead you on to see.”
John Berger, Selected Essays: Drawings
“People who draw more consciously evaluate what they perceive by engaging in visual thinking. Those who draw use not only their eyes but also their other senses in order to ‘see’ something. And those who draw create a void between the lines, which opens up space for other thoughts. Who wouldn't want to be able to do this? All you need is some paper and a pencil to make lines that sway, swing, intertwine, delimit, and that spark ideas. Lines, contours, and shading help us complement what is in front of us and create a reality that doesn't really exist - that doesn't aim to look exactly like something - but comes from another motivation: to create something that didn't exist before.”
Peter Jenny, Learning to See: Drawing Techniques
“Point - rest.
Line - inwardly animated tension created
by movement.
The two elements - their intermingling
and their combinations - develop their own ‘language’ which cannot be attained with words.”
Wassily Kandinsky, Point and Line to Plane
Ateliê:
Rua do Algarve, nº 10
2765-189 Estoril
www.instagram.com/teixeiramiguel