This is the practice of the contemporary: the spacing from the most empiric side of practicalness, from the end result, certain and nameable.

Upon the death foretold of artistic subjects and the formation of the Foucault-like device as a common denominator to artistic creation, hierarchies are broken down according to the function of objects (in this case) capable of referring simultaneously to different fields, taking advantage of the expansions and crisis to gift the viewer with mutant bodies such as: strange at first glance, but familiar for the ancestry. After all, sculpting and drawing have been a part of humanity since the dawn of time.

Diogo Pimentão (Lisbon, 1973), in his work, aims to search for the crystallization of the moment between, interstitial. By refusing the hierarchy set up between the two-dimensional and the three-dimensional, the artist operates between drawing and sculpting, oscillating between the sculptural drawing and the drawn sculpture, without really falling into any of these definitions.

This right triangle of perfidious appearance, for making us believe in a nonexistent material harshness, constitutes another, because of its anthropomorphic dimensions, which contemplates and imitates us with a denoted intention of movement. A geometric shadow that reveals itself before us. Here there is something Giacometti-esque, despite the apparent absence of the metaphor.

Daniel Madeira