English Version | Arts and crafts

Joana Esteves, Tosco Studio

When you look at one of Tosco Studio's pieces, its Portuguese identity isn't necessarily apparent. However, for Joana Esteves, founder of the concrete studio, Portugal is the basis of her work. “Our culture is rich in patterns. I was born and raised in Lisbon, in contact with some of our oldest traditions, such as tiles, Portuguese sidewalk, and the terrazzo mosaic so characteristic of our grandmothers' houses.” It's difficult to characterize what Esteves does, but she defines it as a “mix between artist and designer.” The result of this curious formula is unique cement pieces. “The way we work with cement is unique and patterns are the basis of most of our creations. Color has always been a fundamental element for me, the mixtures between tones, the overlapping of textures and the connection with form, more or less organic, makes each piece special.” The connection to the material that became the means of communicating her art was organic, the result of a decision to follow her passion. “I worked as a designer for a number of years, but the lack of manual labor was a big burden for me. I quit and decided to set up a small studio with a huge desire to rediscover myself as an artist. Cement ended up appearing in my life and for almost a year I worked hard to learn how to work this technique and master what is such an old and difficult material.” Today, Esteves is proud of her status as an artisan, of being able to create products that are unique. “It's true that we can have a model of a table, for example, but all of them will be different in terms of stain or even slight variations in tone. At Tosco we celebrate the uniqueness of each creation, because that's what makes each piece unrepeatable.”

Carlos Manuel Gonçalves

“Much of the identity of my work comes from my childhood memories.” Even before Carlos Manuel Gonçalves reveals the source of his inspiration, his vision is not difficult to understand. His ceramic pieces are a curious mix of child-inspired art and technicolor nightmares. In fact, Gonçalves' art walks the sensitive line between amusing and frightening. His aesthetic is something that, according to him, is essential to his creation. “[It comes] from that child who grew up in a small and isolated environment in the interior of the Alentejo, and who imagined within himself a whole peculiar world full of fantastic and imaginary beings and creatures, which today come to life through my creations.” The craftsman makes a point of emphasizing the Alentejo as the starting point for his work.” "My work draws on all the influences of traditional Portuguese ceramics, with a very personal and contemporary perspective. The tales, legends and sayings, the animals of the countryside, reflect the identity of my pieces today." His passion for what he does is evident in his pieces: meticulous details are accompanied by specific paintings, both done with a childlike touch that seems impossible to recreate when you become an adult. His dedication is characteristic of artisans who begin their artistic journey as an extracurricular activity. According to Gonçalves, the start of his rise was “pure chance.” "I only started sharing my work at the time of the the pandemic. Until then, ceramics was just a hobby. And surprisingly I've never stopped since,” he says. Happiness radiates from Gonçalves when he talks about his art. "It was the surprise of my life. I've never felt so fulfilled and happy.”

Rita Teles Garcia, KROH

Rita Teles Garcia works in a very specific medium, crochet, but when looking at her work only one adjective comes to mind: sculptural. We're not surprised, after all, this is exactly the basis of her professional career. "When I was studying sculpture at university, I always tried to include some craft techniques in my projects. Later on, I realized that these craft techniques were an essential part of my work process." However exploratory his crochet excursions may be, Garcia confesses that the artisanal origins of his practice are omnipresent. “The handmade combinations of unlikely techniques and materials, linen and wool, raffia and crochet, ceramics and crochet, the crossover between craft practices and artistic explorations and the revival of craft memories today are the basis of my work.” For the artisan, crochet is not just a job, it's part of her story. “From an early age, crochet was part of my life, the magic of turning a simple thread into a ‘fabric’, a sweater or a sculpture.” That's why, today, crochet is part of the way she interprets the world. "It may sound like a cliché, but the greatest source of inspiration is everything around me. If two years ago my work focused on rocky elements from a mountain range I visited, this year I've been working around the random compositions that shipping containers offer us, I've explored ceramic vases or tile patterns. Every day we are offered elements that can be the subject of artistic work." Garcia makes a point of mentioning that, even when it's not apparent to the naked eye, her work is permanently based on the essence of Portugal. "I think the fact that crochet/ lace or embroidery with the home fairy are techniques that are immensely exploited in Portuguese craftsmanship ends up being the biggest influence on my work. In some projects the influences can be more or less visible, when I explore themes more linked to the Portuguese landscape or when I explore traditional themes this relationship is more noticeable.” 

New Terracotta

"We are manufacturers of handmade tiles in a factory on a human scale, neither too big nor too small. We consider ourselves an artistic project that mixes technology, craftsmanship and experimentation in an extraordinary and flexible factory, where each product is made to measure." This is how the (family-run) handmade ceramics project New Terracotta, created in 2014 in Mortágua, presents itself on its official website. Its aim is to “fuse ancient techniques with contemporary aesthetics, offering a new dimension to the tile.” Those in charge of the company guarantee that their main sources of inspiration are “everyday life and its imperfections. Beauty without stereotypes, the power of relationships and sustainable development are the pillars of our inspiration. We want to make things simple, sophisticated and pure." That's why they guarantee that the basis of New Terracotta has never been perfection: “The genesis of the New Terrracotta project is a deep curiosity for architecture and the traditional ceramic cultural ‘baggage’ that all of us Portuguese have. The premise is simple: to fuse ancient techniques with contemporary aesthetics, offering a new dimension to the tile." It's relatively easy (but not simplistic) to describe their work. "We like to think of ourselves as color alchemists. We always try to be at the forefront of different expressions of color, creating a balance between pigment, glaze, texture, history and emotion. We produce handmade terracotta in a factory on a human scale, neither too big nor too small. We combine artisanal tradition with a modern, open vision in a factory where everything is produced to measure, without any design limits." Still, they have the ambition to fly - far. "We want to be a world reference in artistic ceramics genuinely focused on the customer, know-how and sustainability. We believe that people prefer handmade, sustainable and truly unique products. The soul, imperfection, beauty and rigor of all the pieces we produce are, we believe, what sets us apart." Wherever they fly, it will always be with a Portuguese soul. "New Terracotta is a deeply Portuguese handmade ceramics project. As you know, there is a new trend in ceramics in Portugal, which we share. The tile is no longer seen as a simple covering, but as a manifestation of contemporary culture. It is in this context that we position ourselves: as a collaborative project that combines technology, know-how and experimentation.”

Célia Esteves, GUR

"The waste of the local textile industry becomes a medium for revealing the most unexpected ideas of artists, designers or illustrators from different cultures and backgrounds. Through this ancient - but still widely used - skill, GUR proves that craftsmanship has the power to innovate, engage and embrace the future informed by tradition." Through this ancient - but still widely used - skill, GUR proves that craftsmanship has the power to innovate, engage and embrace the future informed by tradition." This is how Sam Baron, one of today's most prominent designers and creative directors, sums up the work of Célia Esteves, responsible for GUR rugs, a project she founded in 2012. A story marked by constant collaborations, or that wouldn't be her greatest source of inspiration, as she confessed to us: “The incredible work of the artists I have the opportunity to collaborate with and then the weaving materials and techniques.” Despite being one of the most in demand new artisans, this is not the designation Célia Esteves uses to refer to her work: “I consider myself more of a product designer, my background is in design and the attraction of manual processes has made handicrafts part of my career path.” That's why, she stresses, her work is a mix of “contemporary weaving using artisanal techniques.” More than a decade after creating GUR, she wants to “continue to evolve in technical weaving knowledge, create new collaborations, pass on knowledge and dedicate part of my time to producing designer pieces.” Whatever the future brings, the influence of Portuguese culture will always be present. 

Gezo Marques and José Aparício Gonçalves, Oficina Marques

“For us, creating is like breathing,” say the creative duo behind Oficina Marques. Since 2018, Gezo Marques and José Aparício Gonçalves have led one of Portugal's most exciting creative projects. In a practice that is difficult to describe, the duo creates something that lives between sculpture, tiles and painting. “Our work is based on plurality, more and more four-handed works are appearing, where there is a balance between the two universes, the added value of each one.” The artistic symbiosis created by the two artisans focuses on a common purpose, what the duo call “tusa de viver”. This motto is subdivided into five categories that the artists project as lines on which they write freely. "The creation of the five themes - Sea, Woods, Body, Faith and Lisbon - was important for us, as we are very plural and multidisciplinary. Our work isn't anchored to one material or technique, and as there are two of us there are many layers and depths to our creative universe." All of Marques and Gonçalves' work, although diverse in nature, shares a common spirit: “It symbolizes a positive vision of the world, a celebration of life, people, relationships and objects. It's an intentional will to live with all its moments of happiness and scars." According to José Gonçalves, the art they create embodies this spirit, not only in its themes, but also in the way it relates to its audience. “Oficina Marques' art isn't meant to be on a pedestal, it's meant to be experienced,” says the Portuguese half of the duo. Although they anchor their artistic vision in this unshakeable joie de vivre, the duo confess that the Portuguese capital, in which their studio is based, ends up being a subtle muse: “Lisbon is, in a way, a combination of the other four themes, which come together organically. This city is sea, forest, faith and body.”

Diogo Amaro

The beauty of handicrafts lies in similar confines to art. Handicrafts are not just beautiful decorations, they are complex products that come from human plurality. Think of Diogo Amaro who, with a background in architecture, builds true masterpieces out of wood. His career path is apparent in his pieces: “I started this project in 2020. Interestingly, it was on a trip to Chicago that the idea for this project began to form. On that trip I visited all of Frank Lloyd Wright's work from the beginning of his career. It was a confrontation that really impressed me, very much because of the way Wright managed to take the best of the craftsmen of his time and bring it to modern architecture." If Frank Lloyd Wright was inspired by the craftsmen of his time, Amaro claims the origin of the famous architect's aesthetic. It is clear from his works that the cabinetmaker went through a rigorous training process, a period he describes as “incredible, of continuous absorption of knowledge, in which this transmission of know-how was carried out by the masters in an exquisite way.” His journey is the raison d'être behind the aesthetics of his art. "The possibility of crossing these two worlds, design and construction, allows me to explore paths that are not obvious. The references that architecture gives me, and the technical knowledge passed on to me by my masters, both in cabinetmaking and joinery, give me enormous freedom in the creative process." The upward trajectory he's on owes everything to his curiosity, the same curiosity that still motivates him today. “After working for a few years in architectural studios, I became interested in a practice that was close to know-how.” And Diogo Amaro certainly knows what he's doing, his constructions are works of perfect geometry with a mathematical beauty. javascript:void(0);

Marta Barros, TEX MB

For some, art imitates life; for Marta Barros, just the opposite is true. After nine years as a producer, the artisan embarked on a path of interwoven threads. “It was a path that life showed me and I welcomed it. When I left television, I finally had time to try other things, and macramé came about in that context.” Macramé is an artisanal technique, and like everything done with the hands, it involves a lot of involvement, patience and resilience,” she says. By appealing to the introspective nature of her practice, she finds the thread that connects her to the beginnings of her craft. "When I go to see the sea, I get lost in my thoughts imagining the sailors of that time and what life would have been like on board. In fact, it is said that these men spent hours experimenting with moorings to pass the time, and that is how macramé came to the West." By honoring her past, Marta Barros is projecting the future of artistic expression. As she tells us, her goal is for the artisanal expression to “stay alive and grow. Not in size, but in maturity. My focus is on continuing to reinvent the application of macramé to interior design, creating increasingly artistic and exclusive pieces, giving them design and functionality. That allows me to continue meeting people who make a difference in my life and on my path. And that I always manage to meet my clients' expectations.” 

Beatriz Jardinha

She creates jewelry, by hand, in a very unique, very free, very personal process. Her eponymous brand is one of the most sought-after in Portugal and one of the most critically acclaimed. But let's not just call her a jeweler - Beatriz Jardinha is much more than that. She presents herself as “a Portuguese designer who creates jewelry that brings together ancient and rudimentary techniques with ethereal concepts.” Her pieces, many of them imposing and bold, are impossible to define - they require time and dedication. That's also where the interest (and mystery, and symbolism) of her art lies. "Working with my hands has always come naturally to me, ever since I was a child. I was always interested in fashion, I liked to discover and create my own looks. I often lost myself in designing, developing and creating pieces for my dolls, until I started producing and selling my creations to my mother's friends. When I was 25, a good friend told me about a place where I could train as a goldsmith in India. It was during my time there that I began to develop my practice with a more focused intention. This process led organically to where I am today with my brand,” she tells Vogue Portugal. The brand that, as already mentioned, is not governed by industry pressures to launch collections or “novelties.” This philosophy can also be seen as a statement of the message that Beatriz, the artist, wants to convey with her work. "Since my brand was born organically from a more artistic energetic practice, I didn't feel the traditional formats/constraints of fashion. This wasn't due to a rebellion or an attempt to break away from the traditional landscape of the jewelry industry, it was simply a consequence of wanting to think about my collections at the pace of my inspiration and the launches being driven by intuition. In addition, I have always created bespoke pieces alongside my collections, which naturally has an impact on the timings and launches of other elements of the brand." Many of the elements she uses in her work reflect her travels (physical and internal), but Portuguese culture is still a major influence. "Craftsmanship and manual creation are very important elements of Portuguese culture. Although I don't feel that my work is influenced by a particular culture, there is no doubt that the importance of symbolism, iconography, materials and craftsmanship as a whole has influenced my work and the way I approach my projects. I know that much of my work is considered 'jewellery', but my interests continue to cut across various industries, from fashion to crafts, perhaps due to the cross-pollination of materials and industries that takes place in Portugal. My ongoing projects will bring these interests to life.”

Vanessa Barragão

"I consider my work to be partly handicraft, because it's all manual work where dedication and patience are key elements, but that's just one of the aspects my work can be characterized by. I also consider it to be art and design - art because they are unique pieces that convey a specific message, and for other reasons, and design because that was my entire training and [because] the way I conceptualize each piece is very much based on this vision." Vanessa Barragão doesn't let herself be limited by labels. And in fact when looking at one of her pieces, limiting it to a single categorization is the last thing we want to do. Instead, we prefer to appreciate their complexity: Barragão's works are curious interpretations of marine fauna and flora. "Nature is undoubtedly the place that inspires me the most. Diving into it is like diving into myself. The forest or the sea are places I explore whenever I travel. Discovering new plants or sea creatures is beautiful, it's being able to see that life is exciting." But she doesn't just base her art on nature. By reusing textile materials, Barragão seeks to protect her source of inspiration. "The message I pass on, about the importance of preserving nature, is one of my biggest goals. Trying to awaken people to a greater awareness and inspire, in this sense, is a job that I consider essential as an artist, it's very important."