Gonçalo SenaPortfolio

Untitled (Economy), 2014spray paint, concrete and tape on acetate; bottle of sparkling water, 48 x 46 x 80cm

Untitled (Economy), 2014detail

Untitled (Burnt Siena), 2014 concrete, plastic bag, salt, solid watercolor, water and plastic chair, 84 x 46 x 42cm ‘obsolete and Symmetric’, solo at A Certain lack of Coherence, 2014

“Burnt Sienna” was the name given to an ochre pigment original from a region in Italy where a city of the same name is located.On top of a chair stands a geometric solid in concrete with all angles different. It is inside a plastic bag together with salt, some drops of water and a small watercolor cube. Depending on the temperature and humidity of the space where it’s presented, a micro system develops inside the plastic bag: watercolour dissolves into the water – water becomes ochre – over time ochre water evaporates – condensed ochre water wets the concrete solid leaving colour traces – concrete releases the water and keeps some of its colour.A sculpture for the permanence of civilization through the name of a city that never burned and an odd geometric solid, against social and natural transformations as a speculative organic system that operates slowly and invisibly.

Untitled (Obsolete), 2014spray paint and concrete on acetate, bottles of sparkling water, 230 x 125cm (dimensions variable)

Untitled (blind spot), 2012 graphite, concrete, pigment, indian ink and enamel on paper, 29,7 x 21cm

Untitled (Turbulence), 2013clay, cardboard, indian ink, aluminium, 80 x 90 x 107cm ‘Cinq Saynetes Pour Deux’, group exhibition at Glassbox, Paris, 2013

(Piece in relation to a performance by Francesco Fonassi.)

Sculpture: non-conductive materials (clay) and conductive materials (aluminium grid).Performance: a short lecture about the effects of Turbulence was given by a physicist, while at the same time it was live-broadcasted and re-transmitted in the gallery space through a radio. During the performance, the sculpture was de-assembled in order to make a Faraday Cage around the radio and distort/block segments of speech from the lecturer until it reached absolute noise.

re-building Untitled (Turbulence) during francesco fonassi’s sound performance.

Untitled (Underground geometries), 2012 graphite, pen, pigment and watercolour on paper, 29,7 x 21cm

Obsolete and Symmetric, 2013plexiglass and found cans, 195 x 180 x 111cm‘la Méthode Jacobsen – Nouvelles Vagues’, group exhibition at Palais de tokyo, Paris, 2013

During the tempest, occasional sun beams revealed traces of the community that once lived there, 2013

During the tempest, occasional sun beams revealed traces of the community that once lived there, 20139 collages: pen on digital print from 35mm neg. color film on paper, 30 x 21cm each (framed)

A sculpture without horizon line.The photographs were shot during a tempest under a branched cactus tree with the camera pointing upwards. Without any specific orientation, the images were considered at first horizontally as an organic background juxtaposed by graphic symbols from architectural fragments. All the photographs were later cut in half and then re-assembled in new pairs with the gold lines connecting the center.

Untitled, 2012-13reinforced concrete, glass, pigment, cantaloupe melon, indian ink, 4 x 19 x 740cm ‘thermodynamic twillight’, group exhibition at Galeria Monumental, lisbon, 2013

White concrete, black concrete, grey concrete, occasional drops of pigment and/or broken glass from beer bottles. Variations for a modular floor obstacle. A cantaloupe melon full of black water.

Untitled, 2012-13detail

Untitled (Distant Smoke), 2012 graphite, pen, xerox on acetate, spray, concrete and enamel on paper, 29,7 x 21cm

Ar quente é mais denso do que ar frio [Cold air is denser than warm air], 2012reinforced concrete, wood, column: 230 x 44 x 29cm; stool: 43 x 40,5 x 31,5cm ‘Distant Smoke’, solo exhibition at Baginski Galeria/Projectos, lisbon, 2012

‘Distant Smoke’, solo exhibition at Baginski Galeria/Projectos, lisbon, 2012

Distant Smoke, 2012concrete, iron, pigment, water paint, wood, silkscreen print on paper, glued on wall, 275 x 10500 x 260cm (dimensions variable) ‘Distant Smoke’, solo exhibition at Baginski Galeria/Projectos, lisbon, 2012

Repetition and variation.Every summer, fires burn entire landscapes in the Mediterranean.A mask made of snow to form a floor sculpture.J. M. W. Turner’s paintings with a Distant Smoke.Concrete beams crack and loose resistance due to their lenght; wooden structures disguised in concrete stand like stone plynths.

Distant Smoke, 2012detail

Olhos Vermelhos [red Eyes], 2012photocopy on paper, glued on plexiglass and reinforced concrete, 230 x 118 x 37cm‘Distant Smoke’, solo exhibition at Baginski Galeria/Projectos, lisbon, 2012

for J. M. W. Turner and John McCracken

A vertical line of dust and gases draws an ephemeral structure in the air that dissipates into a heavy cloud.Opposite to dense and heavy objects, it forms an agile sculpture of dust and speed, which hardly ever find a nomadic life.While it desintegrates and expands, it transfers and accumulates all the visual layers into one – the floor.What could stand, now needs the support of a wall.We must stand.

Olhos Vermelhos [red Eyes], 2012detail

Untitled (Distant Smoke), 2012 graphite, pen, xerox on acetate, spray, concrete and enamel on paper, 29,7 x 21cm

Colonna in silenzio, 2011reinforced concrete and folded blanket, 230 × 305 × 40cm‘Due linee in un lago + Colonna in Silenzio’, solo at Galleria Enrico fornello, Milan

Colonna Parete, 2011 reinforced concrete and plexiglas, 230 x 300 x 40cm‘Due linee in un lago + Colonna in Silenzio’, solo at Galleria Enrico fornello, Milan

This work is a zine of 32 pages, with a print run of 300 copies, developed in close collaboration with the writer and climber Robert Macfarlane, the artist Pedro A.H. Paixão, and the designer Stefano Faoro. The zine includes a series of images of mine (close up photographs from marble quarries with overlaping drawings); a text on the experience of interiors of caves and mountains (R.M.); and another on the possibilities of these interiors representation through drawing (P.A.H.P.). The zine is not binded, so it is possible to unfold it and have the series of images.

Air inside the bones, 2011offset print on paper, 32 pages, edition of 300 copies, 24 x 34cmPublished by the Dutch Art institute, Arnhem, 2011

The three sculptures define a spatial tautology on the displacement of a non-functioning dam in Sintra mountains, Portugal.A suspended architectural section; a working table; and mirages.

‘EDP New Artists Award’, group exhibition at Museu da Electricidade, lisbon, 2009

Untitled (mirage), 200928 b/w 35mm slides film projection on plexiglass, 80 x 120cm‘EDP New Artists Award’, group exhibition at Museu da Electricidade, lisbon, 2009

Untitled (table), 2009wood, sand, glass, enamel on mdf, iron and 8 drawings, 100 x 254 x 52cm‘EDP New Artists Award’, group exhibition at Museu da Electricidade, lisbon, 2009

Untitled (section), 2009reinforced concrete and steel cable, 390 x 180 x 6cm‘EDP New Artists Award’, group exhibition at Museu da Electricidade, lisbon, 2009