My work emerges from the creation of narratives seeking to question the human beingin relationship with the self and with the other. The moment when the mind manifeststhrough the body and allows itself to be manipulated is the moment I start my research and practice. Among questions and answers, there is a constant duel between dream and reality, between the fragile and the robust, between what givesinand what resists.
I explore how the common daily objects, that I feel an intimate connection with, communicate in a dialogue with the objects I produce. The use of words and languageplay an important role in my practice. I feel the need to associate words with thoughts. This serves in an initial phase as an ignition for the creation of sculptural objects or performative gestures.
The associations that are made lead to the object’s embodiment of my concerns andconvictions. By using simples gestures and constructions, a story is created, or evena child's play. The atelier serving as a playground, full of emotional swings and sand-boxes of fears and insecurities, where I aim to pass on a message.
Essentially, the time spent in my atelier is enjoyed as a recreation of an alone reflection in, and talking with, the mirror. Like a reflection, my work similarly providesthe answers to my questions. From time to time, we change roles; and it is my workthat asks me questions and I answer them.
Addressing movement or displacement is also a constant through my work. Lookinginto the passing of time and memory, there is always an implicit movement. Evenif not visible, it is inherent to the piece. It can be used, handled or it can move and turnin on itself. Like moving from position A to B, from one emotion to another.
I will carry on with my inquiry that interrogates and responds to personal concerns andanyone who can project themselves in it. A collective meditation that is reflected inthemateriality of thought and emotion.
My work has been developed in sculpture, video, drawing, resulting as installations.
You sleep and you walk
Rita’s work emerges from the creation of narratives seeking to question the human being in relationship with herself and with the other. The moment when the mind manifests through the body and allows itself to be manipulated is the moment artist starts her research and practice. Among questions and answers, there is a constant duel between dream and reality, between the fragile and the robust, between what gives in and what resists. Nobre explores how the common daily objects that she feels intimate connection with, communicate in a dialogue with the objects she produces.
This work emerged from a text the artist wrote. In turn, that text that she wrote arose from an episode of sleepwalking. The common language is present and interconnects the text with the embroidery and with her simultaneously. Nobre sees communication as embroidery. The thread goes from one side to the other. Again and again. She embroidered her own shame, and now she looks at her reassurance. This work is meant to be a mutable sculpture.
Interview
What is the language in common for the young people today?
To be honest I would rather not mention social media in this question, but I am afraid I will. We all communicate through various mediums, it seems that we depose more energy and investment on our virtual persona, than our real self. The language in common should be a vivid relation between certainties and doubts; between feelings and beliefs; between the different and the similar; between you and me. The language in common is a mirage with a screen in front that appears to be inviting but we cannot all access.
What does the process of making one of your pieces look like?
The process of thinking about a process can be fluid, as it can also be very blurry in my mind. It starts with a draft in my head, you can call it an idea. Ideas that are in constant construction and they shape themselves with gestures. I collect a lot of objects with which I create an intimate connection with, or at least they provoke me in a certain way. Through that collectionism that tackles the human behaviour, I think about materials and objects that I can produce. I seek a communication between the things I collect and gather and the things I do and make. My work gives me the orders, and I obey.
Which challenges have you faced while making art as you know it?
The challenge of accepting that sometimes I win, and other times I lose. The challenge of not seeing making art as a challenge but as a need. The challenge of not being afraid.
Do you consider yourself an artist, and what does that word mean to you?
I consider myself as a curious person that likes to experiment with things and words.
The word “artist” is like a big coat, everyone can fit in it but it may not suit everyone. Sometimes I like to wear that coat, other times it doesn’t match with my clothes.
I don’t have a problem with the word “artist”, but I do have some troubles with the “art-world”.
What is your escape from reality? Do you even have a need to escape from something?
There are several ways to escape from reality - I believe that, most of the times, the problem lays on the amount of time that we lose on thinking about ways to escape, and we should think about why do we need to escape. My idyllic escape from reality is thinking that our reality is a dream.
What does the word innovative mean to you?
The word innovative is similar to when nothing can tire you, and you just keep on going. When you adapt yourself with different and new methods or ways of experimenting. It can be new or old. They both work, when they have to work.
Do you have a plan for the future? Where can your artistic practice take you?
I wish I had. I hope I will.
I hope that my artistic practice has its drivers license and can take me far from here, because I don’t.
What made the biggest influence on you to become what you are today and do what you do now?
The way I absorb my environment, and the way it absorbs me.
How would you describe Serbian (Balkan or European-depends on where you live and work) contemporary cultural scene?
I am living in Belgium for almost 3 years now, and of course, coming from Portugal I perceive lots of differences.
Since I am an emerging artist, my perception of this matter is somewhat adjusting and adapting itself with all the information I am gathering lately. That information can either come from Portugal or from the other side of the world. The broad connection of the contemporary cultural scene is what made me in contact with Belgrade Biennial.
That specific possibility, in a way, describes how the approach to any contemporary movement can be mutual. So, maybe, a main point of contemporary cultural scene, is how that universality affects enclosed culture (not so closed anymore), and what do we absorb from it, differently. In practice, out of the virtual access, money is a problem right?
In which way does your creative process shape you or changes you as a person, if it does at all?
My creative process is a tool that I’ve found to clarify some questions in my life. It guides me to a new path that I can choose to take or not. I’m not sure if it is either a tool, or a lamp, but I know that it can make me calmer and less insecure. The appreciation of this alone time while I am producing work has become one of the main marks in my life, which constantly debates between, duty/necessity and fluxes and reflection. To do, in order to, reflect; and to reflect in order to do.