Tereza
Constância
2019
Oil on canvas
40 x 60 cm
Solidão
2019
Oil on canvas
40 x 60 cm
The Cut
2013
Hand-built ceramic sculptures
PRAI clay, pigments and oxides
2013
Hand-built ceramic sculptures
PRAI clay, pigments and oxides
Family Portraits
We carry those who came before us—in mimicked gestures, in stories, in the shared silences.
This page gathers intimate works that reflect on memory, kinship, and the threads that tie one generation to the next. Through photography, drawing, painting, ceramics, and textile, I explore how family becomes matter—how care, absence, and remembrance take shape in form and texture.
Each piece is a quiet echo of someone who shaped me. A braid remembered, the curve of a neck, a face traced from memory or photograph. These are not portraits of likeness alone, but of presence—of what remains when we look back with our hands.
Family portraits
This collection brings together a series of works created between through the years, exploring familial memory through diverse mediums.
Included are analog photographs from rural Northern Portugal—capturing gestures, landscapes, and everyday moments deeply rooted in my upbringing. Ceramics inspired by my grandmothers evoke tactile memories: a tile portrait of Isménia, modeled after her features; sculptural pieces shaped by the memory of Tereza’s braid, which I witnessed being cut in childhood—a gesture that lingered and transformed into form.
Hair holds symbolic weight—offered, severed, or preserved in rituals of passage and devotion. These silent customs become gestures of transmission, woven into the works themselves.
Alongside them, a series of drawings trace familial faces and the shifting sense of self shaped by lineage. In this page, memory is not fixed—it is modeled, stitched, drawn, and held.
Isménia
Etched
2013
Hand-worked ceramic tiles (azulejos)
45 x 45 cm
This portrait of my grandmother Isménia is composed of nine ceramic tiles, each contributing to a unified image shaped by age, memory, and material presence.
The surface of the azulejos has been delicately scraped and marked to reveal the textures of skin, the depth of wrinkles, and the passage of time etched on her face. Her hearing aid, an ornament in her hair, and a single earring appear not as accessories but as quiet symbols of her lived experience.
Beneath this frontal portrait, a second ceramic piece presents her from behind. Seen from the back, the curve of her neck and the tilt of her head suggest another form of intimacy—one of following, of familiarity. No expression, no eye contact, only posture and presence. Between front and back, gaze and gesture, these two works hold her in full—weathered and strong, fragile and enduring.
Imprint
2013
Hand-worked circular ceramic plate, painted and glazed
From the Collarbone
2013
Slip-cast ceramic forms
Porcelain and PRAI clay, mixed media
2013
Hand-worked ceramic tiles (azulejos)
45 x 45 cm
This portrait of my grandmother Isménia is composed of nine ceramic tiles, each contributing to a unified image shaped by age, memory, and material presence.
The surface of the azulejos has been delicately scraped and marked to reveal the textures of skin, the depth of wrinkles, and the passage of time etched on her face. Her hearing aid, an ornament in her hair, and a single earring appear not as accessories but as quiet symbols of her lived experience.
Beneath this frontal portrait, a second ceramic piece presents her from behind. Seen from the back, the curve of her neck and the tilt of her head suggest another form of intimacy—one of following, of familiarity. No expression, no eye contact, only posture and presence. Between front and back, gaze and gesture, these two works hold her in full—weathered and strong, fragile and enduring.
Imprint
2013
Hand-worked circular ceramic plate, painted and glazed
2013
Slip-cast ceramic forms
Porcelain and PRAI clay, mixed media