Vernissage (Free entrance)

Public Days



Anatomy of Colour

Artist Pedro Calapez

Curated by Francisco Lacerda

Ruidos 1-20
154 x 104cm; 106 x 76; 78 x 106; 120 x 90 cm
acrylic / silkscreen inks / synthetic paint

“Anatomy of Colour” is an exhibition that explores the relationship between colour and art. Artworks made by the artist Pedro Calapez, pursue a search on the spectator’s senses, meanings and references. Art is made by humans to been seen by humans. Humans are all the same, but different at same time. Our brain is used to receive and interpret every sense in different ways. Many painters, Bruegel the Elder for example, with his detailed compositions where each object, animal or person, plays a specific role, always discussing “composition” so to say, were also interested in the way spectator gazes vary just looking at an artwork in a “naked eye”.

This “anatomy” by Pedro Calapez, grounds us or invite us to lift our spirits and stimulate our senses, trough colours. The artist palette and medias challenge the spectator in his state of mind and aspirations, promoting a balance that gives us a kind of harmonious equilibrium to the eye: a brighter and stronger perspective of plasticity between primary and secondary colours, “fugitive” colours and light.

On the other hand, this isometric projection - we get the feeling that some tri-dimensional objects or views were by an intricate system of abstract painting translated to a bi-dimensional representation - will depend on the way the spectator looks and thinks about colours following the plain way the artist presents it. Prejudice ideas can result into different points of view. The spectator/observer will have formulated an idea about the colour as a unique meaning for him. Diverse bias or unimagined opinions may reveal mirrors, secrets, intentions, places, languages and different emotions.
In “Anatomy of Colour” it is possible to like an artwork and it is also possible to dislike it, to refuse it. How can we as spectators, understand that art has different languages? We as art spectators (lovers) should never differentiate artworks by its appearance. If taste is constantly being developed, there are always new ways to discover and appreciate an artwork. Artists like Caravaggio were revolutionary in finding new ways to look at art (Caravaggio expression of dark and light, how his figures emerge from the background, how characters dialogue between them, are moments of this revolution and may also be present on some concepts dealing with abstract painting). This exploration of new sensations, through colours, are the same as Bill Fontana invites us to explore the senses trough his “sound sculptures”. Visual meaning is not enough, art must be personal. “Art is the lie that enables us to realize the truth.” Picasso.

Pedro Calapez is considered a Portuguese reference since the eighties and grounds his practice from references from other artists. The Washington Colour Painters, revealed at an exhibition held in 1965, in Washington (DC), at the no longer existing “Gallery of the Modern Art”, were an influence in is practice, namely artists as Morris Louis, Keneth Noland, Paul Reed or Gene Davis. This art movement – Washington Color School – using large non-representational grounds, predict the use of large fields of pure colour by Calapez. We are dealing with a true manifestation of “Colour” as a thing, expressed in the use of diverse techniques that Pedro practices. Pedro Calapez is a Portuguese painter known for the use of brush-strokes, applying “sgraffito” to acrylic paint, superposition of colours and disparate elements.

Pedro Calapez was born in Lisbon in 1953. He began taking part in exhibitions in the seventies. He is one of the most important artists in Portugal, same generation of Julião Sarmento, Pedro Cabrita Reis, João Louro. He already exhibited his work in Gulbenkian Foundation, Lisbon; Salpêtriére Chapel, Paris; Chiado Museum, Lisbon; Pilar i Joan Miró Foundation, Majorca; MEIAC – Contemporary Art Museum, Badajoz and CAAC – Andalucia Contemporary Art Centre; CGAC – Galicia Contemporary Art Centre, Santiago de Compostela; CAB – Caja Burgos Art Centre; Serralves Museum, Porto; CCB, Centro Cultural de Belém, Lisbon. Pedro took part of the biennials of Venice (1986) and S.Paulo (1987 and 1991).
His works can be found in major important collections like European Investment Bank, European Central Bank, Museum of Reina Sofia, Fundación Coca-Cola or Chase Bank, Gulbenkian Foundation, among many others.

Uninhabitable places by Pedro Calapez

“There is no foreign land; it is the traveller only who is foreign, and, now and again, by a flash of recollection, lights up the contrasts of the earth”
Robert Louis Stevenson 

“According to Proust, it is a matter of chance whether an individual forms an image of himself, whether he can take hold of his experience. It is by no means inevitable to be dependent on chance in this matter.” Walter Benjamin 

What places do I want? I recognise myself on a sheet of white paper. But full of colours how I find myself on it? In the tranquillity of my attic, surrounded by my books and objects found here and there, the journey begins on a small sheet of paper, led by a colour that insists on sliding towards its edge. I lose what surrounds me. Insecure, an unknown territory awaits me. I think about making a house, a garden, making the landscape grow up until the limit of my gaze. And none of this happens. There is no point thinking about what I want. That is a field in the domain of the known, of what has been lived. Colours invade me and their order does not stabilise. At each movement my gesture is countered. I stare at the space that I am constructing and that I do not recognise but I desire. I sense distant places, strange people, contaminating atmospheres, difficult accesses. Arid, lifeless landscapes. Because this space that my hands step by step discover is constructed opposite to the place that I am in. Might it be uninhabitable? To try to survive is what I am trying now, moving the paints away on the paths of the paper. Survive? In vain I try to find myself in this inhospitable land, but what I sense is a slow dive into the sea of colours. I am present in each of these other places and I look through the red, blue, green. In the fold of any of these colours is my gaze. Does whether it finds these places before dying or never finds them depend only on chance, on desire, on hope? Or is that how the world ends?


Participating venues

United State Of International Artists

Pedro Calapez Studio



Francisco Lacerda


Textos e Traduções

Texts and Translation

Maria José Lourenço

Pedro Calapez

Produção, Suporte Técnico, Design Gráfico

Production, Technical Support, Graphic Design

United State Of International Artists

© imagens, textos e traduções

© of images, texts and translations

About USIA

USIA is a influential and international contemporary, modern and masterpiece online art gallery. Founded near 2009 by Francisco Lacerda, the brand USIA have a team with decades of investment expertise in Europe, Americas, Middle East, Africa and Asia. USIA Clients and Partners are Ultra UHNWI , Dealers, Auction Houses, Private Investors, Entrepreneurs and Art Investors. USIA makes a unique contribution to global culture, enriching the dialogue between the public and artists of different generations, cultures and disciplines. USIA is anchored in fundamental principles that center on respect for Human Rights and Climate Change, Nation, location, language, religion, ethnic origin or any other status.

A USIA é uma galeria on-line de arte internacional moderna, contemporânea, e de obras-primas, fundada em 2009 por Francisco Lacerda. Os seus princípios centram-se no respeito plenos direitos humanos e pela mudança climática, bem como pelas nações, localizações, línguas, religiões, culturas, origens étnicas e outras características distintivas. A sua marca conta com uma equipa com décadas de peritagem já investida na Europa, nas Américas, no Médio Oriente, na Ásia, e em África. Os clientes e sócios da USIA são dealers, leiloeiros, investidores privados, empreendedores, e investidores em Arte. Desta forma, a USIA faz uma contribuição única para a cultura global, enriquecendo o diálogo entre o público e os artistas de várias gerações, culturas, e disciplinas. 


About Francisco Lacerda

Focused on its International Customers since the very beginning, USIA ships its art to most countries in the world. Francisco Lacerda has curated more than 60 exhibitions around the world. USIA founder Francisco Lacerda is member of the Gia Alumni Portugal and UK, making GIA the exclusive brand for diamond certification of USIA worldwide Clients. Francisco Lacerda has backgound in Management, Visual Arts, Gemology, Art Business and Art Law. Francisco has worked with artists like Tran trong Vu, Eva M. Paar, Mahmud Rustamov, Teymur Rustamov, Luke Nugent, Gillian Hyland and Lee Cheng at different stages of their career.

Centrada desde o início nos seus clientes internacionais, a USIA envia a sua arte para a maior parte dos países do mundo. Francisco Lacerda, membro fundador da USIA, já fez a curadoria de mais de 60 exposições em todo o mundo. Francisco é membro da Gia Alumni Portugal e UK, o que faz da GIA a marca exclusiva para certificação de diamantes dos clientes da USIA em todo o mundo. Os seus estudos e interesses envolvem Gestão, Artes Visuais, Gemologia, Negócio de Arte e Direito Artístico. Já representou artistas como Tran Trong Vu, Eva M. Paar, Mahmud Rustamov, Teymur Rustamov, Luke Nugent, Gillian Hyland e Lee Cheng, em diferentes fases das suas carreiras.























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