Rocha de Sousa

He was born August 29, 1938 in the town of Silves, old

capital during the Arab rule in the Algarve. It is one of the last

spirits (ignored) of twentieth century culture, an operator

multidisciplinary. Their predisposition to art came in soon

childhood, as he says, "chalking, the hours of silence,

disturbing comic books or when writing,

an old Remington my father, stories about sad,

between picture postcards ruins in palaces, "which led him to do

choices decisive in his life, first to perform the duties

of teaching at the School of Fine Arts of Lisbon,

and then asserting itself as artist and fiction writer.

Also developing an extensive cultural dissemination activity

through audiovisual programs, particularly in RTP, alongside actions

teaching with slideshows and videos. The artistic research

specifically focused on film Super-8 and video. No forget

the outstanding public service as a critical art, quality

still holds today.

Rocha de Sousa is represented in national collections and

foreign, namely: FBAUL, CALOUSTE

GULBENKIAN (which was also fellow), ART MUSEUM

CONTEMPORARY, SKOPJE MUSEUM and several regional museums

(Abel Manta, Ovar, Estremoz, Mirandela, among others).

He wrote fiction literature and some parts

theater, like "Memento" and "Jonas and his star," based on a

novel by Albert Camus.

In literary fiction signed "Steps Undercover," "House"

"The House Revisited" as well as "Lyric of Disquiet"

"Narratives Supreme Absence"

and "Maybe Images and People of a Uneasy Happen," where

Euripides brings everything to the table; the restless involvement

a True Story of Family, always facing

human condition.

As novelist writer addressed the dichotomy of man, the

loneliness and the impossibility of existence - which seems patent

in the book "The Guilt of God." Indeed, the testimony "Angola 61",

the colonial war, where he was mobilized, led this artist

exploring poignantly the contingencies of everyday life,

a turning point of his writing.

However, cutting weeds here and there, his writings on art,

in testing and technical books at the Open University, continued

to make way in the actual writing of this pictorial pintor- and that's why

that we highlight here cohesion and identical conceptual truth among

Sousa Rock texts and their series in plastic expression,

namely "Things and Words", "The Illustrated Characters"

"The Figurations Urban," "Cries Mutilated," "Disaster Main".

Long was this route, practical and conceptual, since the individual initiation

the Gallery Daily News and later as a guest of

Gallery Judith Dacruz, where he invented "The Figurations Urban".

In the face of serious destination asymmetries, the "Disaster Main»

(Losses and other amputations) are already present tragedy, although

the painter has given importance to the satire on the vanguard itself,

series that was lost in fire "Modern English or Apocalypse Now"

Rocha de Sousa has collected throughout his life, in languages

who practiced and as we can imagine, many references in the field

pictorial, graphic and literary, from Fernando Pessoa to André Malraux,

but Albert Camus was certainly the greatest of all.

Not that it matters, in any case, ranks it a "top ten"

but before paying tribute to a creative man, unique in the media

especially watchful for multidisciplinary mobility.

We will not, then mince words: literary lists or pictorial are

basically an obscenity. Literature and Painting, unquantifiable,

They are closer to the ineffable and the inner reasons of being. Sousa Rock

It does not relate to these quantities; and so in conversation, not slaughter

to not know where his paintings go. Speak always in a kind of theorem

on the difference in similarity. And saying that the art of painter can inhabit a

art critic, wrote this kind of call confession

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