This artist is participating in the edition Barcelona.

Art and Mathematic 1

Luis Filipe Salgado Pereira Rodrigues

Lives and works at Santo Tirso - Portugal

Born 09/01/1971


Solo exhibitions: 2013: - Ars GEometrica Galéria, Eger.(Hungria) (2013/2014) - Monnumental Gallery, Lisbon. Portugal 2010: - Figueira da Foz Art and Spectacles Center (25 photos). Portugal 2006: - House of Dr. House (Order Doctors in Port) (13 tables) - Oporto. Portugal 2005: - Gallery Vilar (ARVORE) (28 frames) - Oporto. Portugal 2004: - Quasiloja Gallery (14 pictures) - Oporto. Portugal 2002: - OM Gallery (8 pictures) - Penafiel. Portugal Collective exhibitions: 2014 - Mathematical Art Galleries (Seoul), Gwacheon National Science Museum – Korea) - Galeria Shair – em Braga (4 pinturas de cerca de 130x130cm) - Portugal - Propeller Centre for the Visual Arts Black and White IV, in Toronto. (The exhibit is inspired by Truman Capote’s 1966, Black and White Ball, held at the Grand Ballroom of New York City's Plaza Hotel. It was considered to be "the most posh event, not just of the year, but also of the decade, and maybe even the century.") 2013 - Galeria São Mamede, Lisboa. - XVII Bienal das Artes Plásticas da Festa do Avante 2013, Seixal. - Propeller Centre for the Visual Arts presents the Annual Curated exhibition, Darkness at the edge… Curated by Thom Sokoloski: June 13- July 7, 2013, Toronto. 2012: - Drawings (Drawing Movement Three ages 2012) Olga Santos Gallery, in Oporto. Portugal - "Fado ao Norte" Ermesinde Cultural Fórum, in Ermesinde. Portugal - São Mamede Gallery, in Lisbon. Portugal - "Fado ao Norte", the House Gallery, in Santo Tirso. Portugal. 2011: - Gallery São Mamede, in Lisbon. Portugal - ÁRVORE - Oporto. Vilar Gallery (TREE) (28 frames) - Oporto. Portugal - Fine Arts Show - Setúbal. Portugal - "Abel Manta Painting Prize" - Gouveia. Portugal (...) 2005: - Walls Gallery, Amsterdam: (...) Since 1992, I participated in nearly 60 exhibitions of paintings (three of them in Amsterdam, two in Spain and the other in Portugal). Since 2002, I made four solo exhibitions of painting, one with photographs, and one with drawings. I made 10 lectures about art and drawing. I published 20 articles on art and drawings. I published a book called "Drawing, Creating and Consciousness" with a text made by myself (280 pages) and, in the same book, 11 interviews (250 pages) to 2 (architects Álvaro Siza Vieira and Alcino Soutinho) and 9 artists. (This book was in the best bookstores in the country: FNAC, Bertrand, Almedina, Wook, Bulhosa, etc.).I won two awards, one on education and the other about my paintings.


Between drawing and mathematics I am doing a thesis about drawing in a doctoral research, because I do like to draw and to think about drawing. I made several drawings since 2011, with 100x73cm. And I made diferent experiences, developing 4 projects, using allways white pencil on black card. It is iportant to me to explore the light on the darkness. I chose this drawing, that belongs to one of the 4 projects and I have a thesis based on these drawings. Here is a part of the text: Are my artworks drawings or a mathematical play with representation of the shapes? Then, is drawing always a mathematical application on the registration of proportionality through perception? Let’s try to know more about it. My artworks are, really, conceptual representations from which I get an aesthetically sensible set of shapes, as it happens with any type of drawings, as images that they are. It is my belief that the drawing process is not dissociable either from mathematics or aesthetics or even from perception. When we draw, we record amounts of shapes or of lightness or, in a broad sense, amounts of visual information. When we work literally with our perception, we do that more cognitively; when we make imaginative drawings, we do that more intuitively; when we make geometric drawings, we do that in a way in which there are no borders between the literal imagination and cognition, using, however, the visual perception only as an intuitive mathematics perception, i.e., not using perception as a way to understand the reality that one observes and that one would transpose into a support. In my assertion of drawing, I put aside the so called (in Portugal) project’s drawing, the design, because I consider that the project is not a drawing; it is merely a project (here only mathematics applies, without any intuitive or perceptive nature). It’s here where some controversy of concepts is born. Even though, I consider that drawing is a representation where there is an exercise more or less dependent on the proportionality which perception allows us to understand and translate, and that allows us – directly or not (when we use much more our memory) – to build or rebuild shapes with an aesthetic feature. So, all the representations are drawings if they meet these requirements (the perception and the intuitive translation of proportions that we capture with it) and when it is feasible either graphically or in a sensitive way. The process of learning to draw involves the exercise of intuitive calculation where some shapes are compared to others and where the dimension of the parts of a shape are compared to the remaining parts; in one word, we compare measures as a mathematical way of thinking. What is the meaning of proportion implicit in any kind of drawing or object/observed shape? It is a measure of dimensions that correlate with one another comparatively. The implicit proportion is an inherent visual thought but it’s also a relationship that nature created. For example, “a part of this is the third part of that”, “this part is half of that part”, et cetera. This is a mathematical thought. What are numbers but measures of quantity? We quantify all kinds of information, and, in this case, even visual information.

Tina Prize - Roma Artists Tina Prize - Berlin Artists Tina Prize - Bercelona Artists