Luísa Jacinto, Thirst, 2022, spray paint on polyester, 257 x 327 cm © Alexandre Camarão
The sensation of crossing the world as an immense unabridged painting is not strange to Luísa Jacinto’s art practice. In this movement, the awareness of time, of a specific duration, of a limited break of suitable attention, is more acute than space perception. In some of her works, it is the hand scale, of a book, of intimate solitary contact, a one-on-one sense that operates, while in others it is at an immersive scale, of that of an atmosphere, of a surrounding environment, that things develop.
Luísa Jacinto’s painting practice explores surfaces, supports, and painting techniques in a way that makes it hard for the viewer to fully understand what one is looking at. Combining materials and techniques in order to create visual paradoxes as to where the surface is and how it behaves slows down visual perception and introduces doubt into the viewer’s experience.
Her work deals with image protocols, narrative fragmentation and simulation, the excess of evidence, and obfuscation. In any media with which she works (painting, installation, collage, video), there is a balance between a pictorial and a filmic logic at play.
Of special note among her solo exhibitions are It’s the scenery that moves, with Isa Melsheimer, Brotéria, Lisbon, Portugal, 2022; The idea of returning, Galeria Quadrado Azul, Lisbon, Portugal, 2022; The morning will not be different from the night, Galería Silvestre, Madrid, Spain, 2022; Stone-Veil, Artworks Alvalade, Lisbon, Portugal, 2019; We can always escape in the car, curated by Sérgio Fazenda Rodrigues, Fundação Portuguesa das Comunicações, Lisbon, Portugal, 2017; A single day is enough, curated by João Miguel Fernandes Jorge, Museu Carlos Machado, Azores, Portugal, 2012. Of special note among her collective exhibitions are Painting: Observation Field, curated by João Pinharanda, Cristina Guerra Contemporary Art, Lisbon, Portugal, 2021; PADA, ASC Gallery, London, United Kingdom, 2019; WAIT, curated by Orlando Franco, Museu Coleção Berardo, Lisbon, Portugal 2019; Saudade – Unmemorable Place in Time, curated by Yuko Hasegawa, Fosun Foundation, Shanghai, China and Museu Coleção Berardo, Lisbon, Portugal, 2018; Pontos Colaterais, Coleção de Arte Arquipélago, uma seleção, curated by João Silvério, Arquipélago, S. Miguel, Azores, Portugal, 2015.
Her works are held in the collections of the Gulbenkian Foundation, Colecção Teixeira de Freitas – Madeira Corporate Services, Arquipélago Centro de Artes Contemporâneas/Colecção Governo dos Açores, among others, and many private collections.
Luísa Jacinto’s residency is made possible through AAI’s ongoing partnership with Residency Unlimited and with support from Atelier-Museu Júlio Pomar.