I make impulsive and immediate drawings throughout different surfaces and materials that also serve as foundation for larger paintings made with informal approaches (ex. unstretched canvas, use of projection), prints, and books.

My photography and films usually reflect landscapes and spaces that I’ve inhabited. Their tone is intended as cinematic and to be flirting with the creation of atmosphere, alienation and the sense of uncanny in relation to the spaces they showcase.

Layering and paralleling all of these directions of my work attempts to manifest as a reflection of the complexity of my personal experience of being a white Angolan artist. Something that carries great symbolic cultural weight along with complicated narratives and a heavily mixed family background as direct consequence of that country’s history of colonialism. Now abroad, I interpret these elements into my work through abstraction, absurdity and humor. I ask myself how to organically tie my drawing practice to this biography and perception of my place of provenance’s own complex historical narratives, without relying in specific symbols but on drawn gestures, imagined figures and abstractions that might reflect these narratives and the displaced state of being it carries?