My name is Eva Resende and I'm a Visual Artist, creator of studioevaresende.ga. Currently alongside the development of authorial work as an artist, in estudioevaresende.ga I am developing as a cultural freelancer other satellite projects (still in embryonic state), to be released soon. My authorial work is a consequence of plastic and conceptual investigations that focus on phenomenological processes in the construction and nature of the Image per se, searching for its various potentialities. In this way my work methodology reflects how the image is formed, altered, manipulated, revealed or erased through repetition. In the methodological process of production of my work I use the magic lantern, photomontages, google earth images, as prostheses to conceptualise and understand the function of the human eye through a psychological, sensory and cognitive perspective. Other themes I explore in my work include concepts such as Memory, the Anthropocene (with ecological concerns) and the life-death drive (elaborated in Melanie Klein's psychoanalytic theory) expressed in my self-biographical photographic archive. Although I have a background in painting, I use several techniques in my works. I intertwine analogical photography, cameraless processes, engraving, video, installation and digital media applying these diverse techniques according to the conceptual and plastic needs of the work. I studied fine arts at the Fine Arts Faculty of Porto (PT) as well as at the Accademia di Belli Arti di Bologna (IT) through the Erasmus+ programme. Along with my academic qualifications I have exhibited in countries like Portugal, Italy, Spain or even Argentina.
Where are you from and how does that affect your work?
I'm a "countryside girl" from a place near Porto. This place is full of childhood memories, some good, some not so good. Well, I guess that's part of it. Although I have lived in Porto, Lagos (Portugal), regularly visited friends in Lisbon, or even Bologna (Italy) where I lived last year, I don't believe these places affect the production of my work. The landscape, the people, the places, these are important in the construction of an "authorial and creative self". I wouldn't say that the place where I am affects my work, but the influences I draw from it, so I consider myself quite pragmatic in the reasons that lead me to my project research. Still I must confess that in Bologna I appropriated for my work the Italian quattrocento universe with the egg tempera technique, admiring Giotto and Cimabue (this daily in chapels around the corner, next to the door). However, with the speed and easy access to other places in the globe via the internet or thanks to the low costs practised by airlines, whether for leisure or work, it is easy to create more bridges and increase our personal universe beyond the place where we are rooted.
Is there any particular message you want to send with your work?
I don't see my works as passive messages or visual elements to be read. I develop my artistic process as an element of investigation, culminating in a final stage (that of appreciation by the public or subject that sees my work). This last moment I believe may be for the spectator not only a moment of plastic and visual appreciation, but also a curious exploration that leads him/her to understand the intricacies and motivations behind the production of the work. At this moment the spectator, like an archaeologist, tries to reconstruct the work, trying to understand the different layers that constitute it. I thus consider that more than a message, I try to lead the observer himself to think about the work and the premises that constitute it, thus producing in the public, I hope, a moment of reflection and criticism, either on works in which I investigate memory or on others that show an ecological commitment.
Which artist has the greatest influence on your development? Why?
It will be difficult to choose only one artist, since there are many influences and they change places in the hierarchy of importance and pertinence, during the development of my plastic research. I could mention Gerhard Richter (with the creation of the Atlas, or even his unavoidable historical contributions to pictorial practice and conceptualisation); David Hockney (with the use of photomontages or videos for painting, and also his published research on techniques and technological methods of the old masters of painting); Tacita Dean (in the poetic and narrative character of her works, especially the video work Antigone, - identifying me personally and developing my personal interest in the almost inexhaustible source of research and reflection that are the Greco-Classical myths, as well as Shakespeare's works, as being unavoidable works of Western European culture) and Olafur Eliarson (with his ecological commitment, as well as in his works that deal with phenomenological processes of perception) as some of the references that I currently have on the table. I also consider that observing works by Rembrandt and Van Eyck, (masters of the oil painting technique) or Girlandaio (in the egg tempera technique) are always for me a reason for technical fascination, and constant learning.
How do you navigate the professional art industry?
I think this is at the moment a premature question to ask considering that I finished my degree in Fine Arts in 2021, I feel like a beginner in this industry.
I have participated in exhibitions, in art fairs such as the Alegria fair that took place in Palácio de Cristal, I have worked for private commissions, I have collaborated in projects such as Map In Territoriales or MIP_OFF, created contacts for future projects and partnerships, applied for open calls, etc...
However, there is still a lot of territory to be explored: with more partnerships in projects; developing my interest in NFT's; holding individual exhibitions; producing projects of artistic dissemination with an ecological, political and economic nature. These are my short-medium term ambitions, that is, what I can do to improve my work and the way I promote it and relate to my peers by working collectively.
What factors influence the price of your work?
The answer to this question is redundant, "the work itself". I say this simply because I believe it is unwise to engage in artistic speculation at an early stage of a career. Having a family background connected to the business world, and I have learnt over the years in this environment that it is important to be serious in the way we work and present our work. The consummation of this in a final "product" that may be transferable through a monetary value will also have to be so. Thus, when I calculate the final price of a work, I am very pragmatic and down to earth, trying to be as fair as possible, accounting for the material production costs of the work, the working time, etc ... In the future, my resilience in the area as well as my authorial work may or may not have impact and relevance for the national and/or international context, creating consequently an increase in prices. For the moment I have my feet firmly on the ground.
What do you think about the current art market and how it operates?
There are multiple art niches, with unique characteristics among the various ones, making it invidious to generalise the answer. There is the "traditional" art market with galleries; art fairs; auctions; art biennales, works by public or private commission, culminating also with purchases of works by museums or cultural institutions or private acquisitions by banks. These previously mentioned spheres, I believe, are more difficult to access, especially if they are inserted in an international network of connections and partnerships.
However, I see emerging creators finding alternative ways to show their work. They do it with alternative projects, or with exhibitions in unconventional places. There are also new ways of promoting the work and artistic projects with the new social networks or digital platforms for art dissemination, which go beyond the conventional art magazines such as Artforum or Friezer. Well, I don't want to make this question and answer as if it were a University exam. However, I believe that each Creative, be it individual or collective, tries to find his way in the art market with the tools he has at his disposal, with the contacts he creates etc...
Describe how art is important to society.
Firstly I think it is important not to generalise this question, taking into account that artistic work has several fields of reach, so I would not say that all creative or artistic production has the same impact. All of it will be important and will have its relevance on the scale in which it is inserted, whether this is present in the regional, school, national, European or global sphere. We must also think about the importance of this in relation to contemporaneity or in a more elastic and mutable sense, as is the case of its absorption into history. I am sorry if I am asking more questions than answering the one initially asked, but I believe that it is necessary to put things in their proper place in order to think about them critically.
According to the NGO you have chosen to help, do you have any final support message for them and talk about this choice?
Luís Lima Cultural Association was created by friends and family of Luís Lima, victim of an oncological disease in 2012, in the municipality of São João da Madeira. This association fosters culture in a regional niche, using part of the revenues as well as fundraisers for the support of needy families, with the project "Sponsor this idea". On a national level, part of the funds are also directed towards training and research in the area of oncology through the Portuguese League Against Cancer.
Therefore, this association creates a triangulation of impact between cultural promotion, social support and health research. I chose this NGO because I believe in the projects developed and in the impact that these have on a regional level (with impact on local communities and people) as well as nationally (with support to health, specifically in Oncology), becoming dynamic through culture. I leave below the association's website for those who want to know more about it: https://www.acluislima.com/.
What do you think about the art2act project and how do you think it can help the development of your artistic career?
More than believe in the art2Act project I believe in the people that develop and work every day in the project showing integrity and dedication to the values they believe in. In this sense created a platform that connects the art market and NGOs, existing a support for dissemination of emerging artists, as well as the guidance of an economic value of the works for institutions in various areas from education, health, fight against poverty, etc..
Besides the positive impact in different communities through the financial support to NGOs, this project potentiates a vast network of contacts between artists, as well as making partnerships with other projects of artistic development promotion, such as the partnership with Destructura.
However, I would not say that this platform helps in the development of my artistic career in the authorial sense of the same, however this is a platform that creates networks of contacts of motivated and committed people in this area which is the visual arts. This way, the project potentiates partnerships, which for me is very motivating, because I believe that collective work in creative projects is more and more pertinent and enriching. Thank you, Art2act.