2012-14, chemigrams, inkjet print on fineart cotton paper, 50×140 cm (aprox.),
Edition of 5+1 Artist proof
Private collections

“… the set of works presented thus appears, while in a very disparate way, in the domain of the tradition of tragic representations, whose marked reverberation on the spectator Edmund Burke has been called sublime[1].

The scenario of catastrophe that is announced in Apocalipse radiates this same reverberation: through these abstractions generated without reference but recognizable to our eyes as landscapes of great aesthetic wealth, a dizzying feeling, a watched terror that fascinates, a salutary fear that relates to the self-preservation, with our conscious fragility and mortal condition, which is affirmed as a negative elevation.

With Apocalipse a kind of slit opens on the flat surface of the landscape and with it a vastness of possibilities which, if on the one hand, go through the natural arrangement of attention to detail, to fragment, to a shatter of memory, on the other hand, they trace the reverse path of the end of time [2] to the beginning [3]


 Andreia César, 2016 (excerpt from the text “TREMOR”)


[1] BURKE, Edmund, Uma Investigação Filosófica Acerca da Origem das Nossas Ideias do Sublime e do Belo, Lisboa: Edições 70, 2013.
[2] Os Falsos Doutores in Bíblia Sagrada, ed. 18, Lisboa, Difusora Bíblica, 1995, p. 1608.
[3] Génesis in Bíblia Sagrada, ed. 18, Lisboa, Difusora Bíblica, 1995, p. 17.