Pedro Sousa Vieira, ‘Mariwin   Roberts’, 2013, Belo-Galsterer Galeria

This work by Pedro Sousa Vieira is part of his most recent series made on purpose for his next solo exhibition at Galeria Belo-Galsterer, Lisbon. Pedro Sousa Vieira was born in Oporto, Portugal (1963). He lives and works in Braga, Northern Portugal. The artist works in different techniques and supports: drawing, painting, installation and photography, are some of them. Until now, he realized over 20 solo exhibitions and participated in more than 30 group shows. We would like to draw attention to his most recent solo exhibitions in Lisbon (Preto e branco, 2012, Chiado 8 Space, curator: Bruno Marchand), and in Oporto (No dia anterior, 2013, Nuno Centeno Gallery), as well as at the Centro Cultural Vilaflor in Guimarães, Portugal (2011, curator: Bruno Marchand). Also, there are several participations in group exhibitions that should be mentioned: À propos des lieux d’origine. Portugal agora, MUDAM – Musée d’Art Moderne Grand-Duc Jean, Luxemburg (2007, curators: Clément Minighetti, Marie-Claude Beaud, Björn Dahlström), Entre Linhas – Desenho na Colecção da Fundação Luso-Americana, Culturgest, Lisboa (2005, curator: João Silvério), Zoom 1986-2002 – Colecção de Arte Contemporânea Portuguesa da Fundação Luso-Americana para o Desenvolvimento: uma selecção, Museu de Arte Contemporânea de Serralves, Porto (2002, curator: Manuel Castro Caldas), e Linhas de Sombra, no CAM / Fundação Calouste Gulbenkian, Lisboa (1999, curators: João Miguel Fernandes Jorge e Helena de Freitas). His work is represented, between others, in the following public collections: Ar.Co, Lisbon; Caixa Geral de Depósitos, Lisbon/Oporto; CAM / Calouste Gulbenkian Foundation, Lisbon; Serralves Foundation, Porto; FLAD –Luso-American Foundation for Development, Lisbon. This series we present at ARCO, is one of his most recent works. These painted drawings are about women, mostly movie stars or 'porn' actresses. In his process, by using mostly colored pencil, watercolor, inkjet print, graphite and gouache on paper, the artist makes a part of the original image (normally a photograph takes out of a newspaper, magazine or the internet) dissapear, and thus leaves space for our own imagination. Mostly we don't see instantly what is portrayed; it takes us time to discover what we see... then suddenly, there is a leg, long hair, a foot, a hip... We begin to unravel the female body from a distance.