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Rosario Rebello de Andrade


Untitled, 2016 (work in progress)
(Deutschland, Übungskarte/Germany,
Chart of exercises Germany)

1. Drawing Utopias:  The following transcription, “a poem without
end”, is part of one of my recent drawings “the light that comes
through the window”. This poem translates my close connection to
drawing Utopia. “The light that comes through the window at noon .
when I walk or fall or arise . is the same that has always entered . even
when my eyes don’t feel or perceive it . as the quality or quantity of
this light . is not in me but in the emanated light itself . and if my eyes
pause . to savour it at any moment in time . the light shall penetrate
all my being . and emanate everything I can learn or apprehend .
and then the window . or the light . or the light’s source . can or cannot
be . a metaphor for my body . which shall transmit light . I repeat . not
depending on my desire . but on letting me open to light . because if I
close myself . the light is there anyway . but it is as if it wouldn’t be
present . in order to enlighten my being . and all other beings and
bodies from earth and heaven . and let them turn into a lamp . but if
everything is connected and blended . then turns into an unending
chain . which heats and transforms everything . from one state to
another state . still to be known . the same way it happens with time .
because the light that comes through…”

2. Dream Economics: Economics are important, yes, but only in the
way we use it: investing in art should take a big role, yes, but  in the
sense of enabling the artist to live from his/her work with dignity
and with the purpose of contributing to build the ideal society.
Economics are important, yes, but with the sense of creating
subventions and support for art creators rather then allowing
speculation or economical profit to individuals. The existing world
borders, where art or artistic practice takes place, should be vanished,
yes, but allowing each one to share individuality in which each culture
can be maintained.
Contemporary art should be seen as a portrait of the present, yes,
but to any  engaged artist should be given the possibility of bringing
to public his/her expression in how hope towards the future is essential.

Rosário was born in Portugal in 1953. She lives and works in Germany. She completed the Master Course Program in Painting at Ar.Co, Lisbon. Scholarships: 1993 Fundação Luso-American Foundation, University of Massachusetts U.S.A. 1994-1995 Calouste Gulbenkian Foundation. 1994-1998 Professor for Drawing and Painting at Ar.Co, Lisbon. Solo shows since 1988 in Portugal and abroad. Her work is represented in public and private collections both in Portugal and abroad: PORTUGAL: EDP Foundation. Loures Museum. Caixa Geral de Depósitos. Novo Banco, Ar.Co, Fátima Museum. Calouste Gulbenkian Foundation. E.U.A.: Francesco Pellizzi GERMANY: Diözesan Museum Limburg, Sparkasse Mainfranken, Würzburg, Collection Diözese Museum Würzburg. Museum Burg.Miltenberg. SPAIN: CAC Málaga Centro Arte Contemporáneo.

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