P :: Ana Pais Oliviera

Vernissage am Samstag, 24. Februar 16-18 Uhr

Mit Ana Pais-Oliveira, Kevin Finklea, Hans Thomann, Maria Eitle-Vozar und Patrizia Kränzlein


2000 Abschluss in Malerei an der Universität Porto

2006 Preis Estoril Sol

2008 Preis Eixo Atlântico

2009 Preis Aveiro Jovem Criador

2009 Preis Engenho e Arte

2009 Preis in 1º Prémio Jovem de Artes Plásticas da Figueira da Foz

2009 Preos Art XXI 10

2013 Aquisationspreis in der9. Edition vom Amadeo de Souza-Cardoso Preis

2013–2014 Biannual Young Art Award <33, Art Forum Ute Bart

lebt und arbeitet in Vila Nova de Gaia, Portugal

2018 Art Forum Ute Bart, Spot on 3D

Video-Tipp mit englischem Untertitel


1982 in Vila Nova de Gaia, Portugal, geboren, lebt und arbeitet in Vila Nova de Gaia

Ausstellungen / Auszeichnungen

2017 Ar livre, Fórum de Arte e Cultura de Espinho.

A cor é o assunto, Galeria S. Mamede, Lissabon .

2016 Climbing tree houses, Galeria Shairart, Braga.

O Bairro, Fórum da Maia.

2015 Pintura fora de si, Museum of the School of Fine Arts, University of Porto (PhD final exhibition).

Pintura fora de si (ou algumas soluções de habitação), Museu Municipal

Amadeo de Souza-Cardoso, Amarante.

2014 Preisträgerin des Kunstpreis Young Art Award, Art Forum Ute Barth

Sedução em Erro, Galeria S. Mamede, Lissabon.

2012 Dwellings, Galeria Símbolo, Porto.

Desired Shelters, Theatre’s Gallery of Pombal.

2011 8th Edition of the Amadeo de Souza-Cardoso Prize, Municipal Museum of Amarante.

2009 Inabitável, Estoril Casino’s Art Gallery.

Entre(tanto) e quase nada, Culture House/Barbot House, Vila Nova de Gaia.

2008 Passagens (a ferro), Galeria Parábola, Porto.

2006 Não-Lugares, Municipal Auditorium of Vila Nova de Gaia.

About her work

In her painting work, Ana intends to bring to pictorial space the presence of an architectonic language and geometric structures that are almost penetrable and manageable, where we can access to concepts as space, scale, limits, matter and construction. There is an interest in the formal and aesthetical dimension of the architectonic language and the represented constructions, being wrong and impossible, intend to question what makes us feel at home, protected and sheltered

Her recent work can be defined by the expression Painting outside itself, a designation that refers to the disseminated concept of expanded painting but, perhaps in a more poetic and subtle sense, it refers rather to the painting that has ceased to feel comfortable with itself and recognize the ways in which it is conventionally defined, translated or portrayed, borrowing nearby grammars. It is a painting that moves forward in the direction of spatial research, three-dimensionality and the invasion of the real space, remaining faithful to its painting being.

Nonetheless, at the end of such journey, it always returns to its means, processes and questions, attempting to behave honestly and confirming its inexhaustibleness. This painting being is truly connected to the importance of colour in her work, used as groundwork in the creative process and a fundamental composition element that transforms space. Colour has, in Ana’s work, a major role in the process of interaction between pictorial and architectural languages and specificities, being determinant in our perception of depth, volume and illusion.

So, in Ana’s work painting converses with architecture through a mutual questioning and hybridization and, generally, the pictorial dimension prevails, as a result of colour being privileged as an expressive and visual element with a significant transformative potential.