Multiplied Drawing


2018 > 2019

When Aglaíze Damasceno, Clara Sampaio, Rita Gaspar Vieira, Marcelo Forte and Vanda Madureira presented this project here, as “Desenho Multiplicado” (Multiplied Drawing), they did that, like artists do. They say something knowing that, doing it, they also say the reverse of it, and the reverse of the reverse and so on, in different meanings… Things that imply other things, never going back to the same place.

Even if you look here for the possibility of the drawing’s place to be a material thing.  Indeed, a place.


And the “indeed”, is given by the factory, a factory where one can do the materiality that the drawings can, having the support to do them. Because this factory does pencils without paper. Pencils thus suspended in this condition. Flying pencils, if not being the objects that, in the production process, are put into boxes, not by poetic charm, but in between the repetition of actions, they become invisible. But not the people that make them. Even if they were invisible for you, they aren’t between themselves, in human relationships that takes them to other places.

Five artists in the same place, even if not at the same time, but five of them.

Like the fingers of a hand, by chance certainly, and a not so relevant fact, wouldn’t it seem everything so relevant when it comes to art, or being the same, with importance, or without it. Everything here is singular, only one thing is exception, because everything that exists is exception, and at the same time, even, as a whole indivisible and infinitely fragmented. The plural of pencil (lápis) is lápis. And it is like this that this drawing is going to multiply itself. Is going to multiply to stay like itself.


These five artists meet, go to a factory as one who goes to the origin of things. By wanting to get as close to the drawing, as if they wanted to make it look like they were looking for its origin, more they move away from it. Probably that’s exactly what they want, guessing what we want. Because we can’t get to the drawing, because it is in its nature, to be the starting point. But the starting point in a process that we can reverse, even if it is for all this to fit in this factory.


António Olaio
College of Arts from University of Coimbra

See the catalog in Flipbook format.