The Exhibition Titled ‘The Morphology of Coloured Volume’ is a continuation of the personal exhibition from December 2022, hosted by the C.A.V. Gallery, and marks the conclusion of our doctoral research, introducing the novel aspect of the subjective relationship between volumetrics and the science of colours – chromatology. The coloured objects displayed are the result of doctoral research conducted at UNArte, opening new horizons in the field of visual arts, with a focus on coloured objects and installations.

The majority of the works were created during this year, but we also experimented with revitalizing some older objects by applying fundamental modifications through the treatment of surfaces with a chromatic film. This layer of colour was applied based on principles studied during the doctoral program.

One specific example is ‘The Wheel of Time,’ symbolizing the relationship between complementary colours, red-green, and between the yellow cylinder and the green prism. Philosophically, this wheel suggests the cyclical nature of time, seemingly returning and repeating endlessly. This concept initiates from the bottom part of the wheel, where the red square is located, symbolising the earth and associated with the red colour, following Johannes Itten and Kandinsky.

Infinite Red,’ created in 2022, was reprised, which continues an older cycle of works carved in traditional materials such as travertine, marble, and wood. This time, we experimented with a combination of tires, subsequently painted red.

Another example is ‘The Trumpet,’ representing a fragment from a sculpture created in 2013 during a symposium in Germany.

The vertical cylinder was gently heated by applying an orange-brown colour. This process accentuated the contrast between the convex volume and flat surfaces, as well as the warm and cool colours.

‘The Portal to the World of Coloured Volumes’ is a work that combines three objects into a single coloured sculpture. These objects levitate, entering a relationship with the void created by the blue frame, which also functions as a supporting structure.

We also explored the relationship between ovoid forms, painted with warm hues, and sharp, cool prisms with greenish shades.

The work ‘The She-Wolf and Portrait’ was exhibited in August as part of the Doctoral School Exhibition hosted by the SENATE. This work represents a contrast between an ascending prismatic volume, painted in blue, and a horizontally positioned object, predominantly composed of round forms (ovoid and cylinder), painted in red.

‘The Dialogue of Coloured Volumes’ exemplifies the harmony achieved between ovoid and prismatic volumes through the use of colours that accentuate the dynamics of the forms, depending on the surfaces they are placed upon.

The work ‘The Androgyne’ suggests, on the one hand, the symbolism of Eve’s birth from Adam and, on the other hand, the joy of communion between these two entities. The volumes were coloured based on the principle of warm colours for rounded surfaces and cool colours for surfaces with edges and straight planes, to highlight the three-dimensional interplay.

The exhibition includes other works that explore the same relationship between colours and forms.”