Products tagged with 'Bordallianos'
O dinheiro é tão bonito,
Tão bonito, o maganão!
Tem tanta graça, o maldito,
Tem tanto chiste, o ladrão!
O falar, fala de um modo...
Todo ele, aquele todo...
E elas acham-no tão guapo!
Velhinha ou moça que veja,
Por mais esquiva que seja,
E a cegueira da justiça
Como ele a tira num ai!
Sem lhe tocar com a pinça;
E só dizer-lhe: «Aí vai...»
Que não é lá qualquer coisa;
Catarata, tome conta!
Pois não faz mais do que isto,
Diz-me um juiz que o tem visto:
Nessas espécies de exames
Que a gente faz em rapaz,
São milagres aos enxames
O que aquele demo faz!
Sem saber nem patavina
De gramática latina,
Quer-se um rapaz dali fora?
Vai ele com tais falinhas,
Tais gaifonas, tais coisinhas...
É lábia que o demo tem!
Mas numa secretaria
Aí é que é vê-lo bem!
Quando ele de grande gala,
Entra o ministro na sala,
Aproveita a ocasião:
«Conhece este amigo antigo?»
— Oh, meu tão antigo amigo!
João de Deus, in Campo de flores
[“The Money”, a poem by João e Deus, in Campo de flores]
The opuntia ficus-indica cactus, such as the snail, already has quite a history. Were used in paintings, engravings, movies. And for years they are part of several Susanne Themlitz works.
For the edition of 125 copies celebrating 125 years of the Fábrica Bordallo Pinheiro, the artist presents us with a cactus fragment with a snail in faience. This support for food (cheese, cold meat... and, why not? for snails) on a table results in a still life [natureza morta in Portuguese]. Something that seems to have been frozen or stopped in time, thanks to its matter. So perhaps the English term still life (= stop life, still life) better suits this idea.
The ambitious aesthetic program, created by Rafael Bordallo Pinheiro, in the factory he founded in Caldas da Rainha, established one of the boldest and unique artistic projects implemented in Portugal. We are fortunate of even today to maintain a significant core of this heritage entails an enormous responsibility to match the excellence of artistic production of Bordallo Pinheiro ceramic. Visabeira has nowadays the privilege of continuing a unique project in the world, whose good business performance will only be surely guaranteed by the deep knowledge and the proper recognition of the artistic value of Rafael Bordallo Pinheiro’s work.
Dueto celebrates the 125th anniversary of the establishment of Fábrica de Faianças das Caldas da Rainha, with an exclusive piece, the work of two of the most important and influential Portuguese artists: Rafael Bordallo Pinheiro (1846-1905) and contemporary artist Joana Vasconcelos. An amazing choreography performed by ceramic swallows and fish (bream) creates Dueto, a centrepiece designed by Joana Vasconcelos from the original moulds designed by Bordallo Pinheiro. The exceptional and rigorous naturalistic trace of different elements - both leading character and structural support of the composition - collaborate in an unexpected dance, full of dynamics and chromatic sense where swallows and fish seem to celebrate the richness of the artistic legacy of the Fábrica de Faianças das Caldas da Rainha.
I have known for some years two elephants who live in the back of the Fábrica de Faianças Bordallo Pinheiro. They live together with snails, frogs, chickens, ducks, bees, many birds and other animals. I keep a good memory of the day we talked for the first time, we became friends. When I was asked to design a piece for the 125th anniversary of Bordallo Pinheiro, I ask them for help. They wandered in the factory museum, chose bowls, pots, vases and began to push them. I enjoyed what they did. They are the authors of the things I've done for this anniversary... I merely watched.
This is the city where I was born. Lisbon is mysterious and bright as no other. She is full of colours, corners and views we never get enough of. This tray id the city’s “floor” and the pyramids are its hills. The squares may be many people, houses, streets and gardens. But the river as well. It may be combined as desired and it may accommodate what is desired. Lisbon was also, before Caldas, the city where Bordallo lived and worked. He was far from imagining what I would do, more than two centuries after, with his pieces.
I hope he doesn’t mind, especially because this is a tribute.
Menina Saxe discusses the concept of the plastic and visual imagery of Raphael Bordallo Pinheiro. The deconstruction of a jar, inspired by the Saxe ceramic, began an intimate narrative which led to the metamorphosis. A creative journey on the search of identity records towards the idealization of a tribute to the pottery itself and its powerful alchemy.
Menina Saxe appears enigmatic, adorned with acanthus leaves and wearing the Bordallo’s sandblasted. I decided to crown it with Rafael Bordallo Pinheiro swallows, which seem to prepare another journey through time by the creative paths. The house gecko also whirls in ecstasy with this Bordallo’s idea. Menina Saxe evokes the beginnings of ceramics of Caldas in the image of the mythical Maria dos Cacos, the Portuguese blue tiles - with its acanthus leaves surroundings painted in cobalt blue - Queen Leonor, founder of the city of Caldas, and the multiplicity of styles in the excellent Bordallo’s ceramics.
In this work I sought a language in dialogue with my work. A fantastic context, where big animals invert their scale with the lobster and attack it. The gigantic lobster becomes a main dish for the animal kingdom to enjoy this expensive and exquisite dish.
With a dramatic shade of blood, it makes us think that we are the next to attack these edible animals that are there, on a platter, ready to be placed in the oven.
I arrived in Lisbon on a Saturday morning and on that same afternoon I was already taking pictures of pieces by Bordallo in both museums of Caldas da Rainha. I was quickly taken by this letter rack. The fact that the piece was more subjective (a huge wall ear), absurd and somehow flirting with surrealism, immediately appealed to me; apart from the fact that it contains a popular saying, no less surreal, which is a feature that I normally use in some of my works.
I learned that the mould would have to be restored, and that was an opportunity to bring back the work of a genius, which had already stopped being produced. I chose to keep the piece as it was and insert an interference here and there, creating an effect both in the shape and the message.
I’ve always thought of this proverb as a small certified paranoia; surreal, mistaking people for walls, as if all that we talk about raised the interest of others. That's when it occurred to me that it could be distracted by other things, instead of us, and so I thought of the headset, an enlarged facsimile of the one by Apple, so widespread in the contemporary world. Bringing together two objects with drawings made at such different times, 100 years apart, I was given the opportunity to pay tribute to two geniuses, Bordallo Pinheiro and Steve Jobs, besides creating a new context, a new piece, with humour, also a Bordallo’s brand.
The project to create Assombrada began with caution. It entailed studying Bordallo Pinheiro and collecting information on the artist, up to the moment of ordering small frogs to carry out prior studies. But even when the subject is affinities, how can one couple poetics - mine and his - without either dissolving? How can one enter into a close conversation with the other - another artist like this one, with a strong, critical and overwhelming work – so that this coupling in fact results in a new quality? Because of all this I chose the faithful silhouette of my hand, as an autobiographical sign, a sort of tag and shadow of myself - to join Bordallo’s frogs, the unmistakable Bordallo’s frogs, his preferred brand. With them stacked on top of the hand, piled up, precariously and yet virtually covered by another black shadow, I tried to create with the frogs and the hand a sort of visual ideogram that would re-signify that strange union on the lid of the tureen.
Inseparable, hand and frogs should tell the same story. However, in Assombrada it is purposely not clear whether it is the shadow of my hand grabbing and containing those little frogs, to express domain, or if it was the frogs that erupted and grew unexpectedly - black, like a ghost - over my dark hand to immobilize it over that tureen lid.
For the "Beijo" work, I chose elements of Bordallo Pinheiro’s work that favoured the shape and its contours. The choice of vegetables – pepper, radish and asparagus - was an immediate approach, since I usually work with fruits and vegetables as a starting point. It was a challenge to choose among so many delicately carved shapes; there were also corn, pineapples, pumpkins... Then I went searching for the vases, a shape that I have been electing as essential to my work, as if all the artistic work could be discussed from the first impulses of clay work (or so I want to believe...). In this work, two vases meet and complement each other, their contours almost fitting each other: on one side the gourd vase offers its curves to contrast with its geometric pair - this one created from the spike tiles by Bordallo, remodelled in this case, forming an upright column. One of the "Beijo”’s element of remained useful (there is a surprise asparagus used as a stopper in the radish lid) while the geometric vase was already born sculpted and closed. This contradiction reflects aspects of coexistence between utilitarian objects and art objects.
As the long-time admirer that I am of the Bordallo’s work, I wanted to take the opportunity of this project to meet more closely one of my favourite sculptures of Bordallo Pinheiro: the "Byzantine Cat".
I simply started retracing with my finger the patterns of the surface, still damp, of the Cat fresh out of the mould, as a way to study the topography of the piece, and gradually added to it elements of the sculptural language that I explore in my own work. I emphasized these effects by using the wonderful drained glazes of the BP factory and - finally - I proposed the inversion of the original use of the piece, turning it from a spittoon into a censer, i.e. from a downward (liquid) movement to an upward (smoky) movement. It was a great pleasure to develop this sculpture based on a work I admire so much, and to be able to count on the support of the wonderful staff of the BP Factory in this work: thanks again, everyone!
The tureen, which had been forgotten for four centuries, now exuding only the generosity to the one whereby the city was named after, is used to shelter different types of creatures, still searching for that initial warm gesture.