Eduardo Padilha (1964 - )


    I had been observing camouflage in nature and became interested in it as a concept I could incorporate into my work.

    1. Camouflage is anything such as branches, leaves or paint used to make soldiers and military equipment difficult for an enemy to see...
    2. Camouflage is also the color or texture of an animal's skin that makes it difficult to see in its natural surroundings; as such it is disguise; misleading or evasive precaution.

    The Self-Portraits originated with a collection of ID card photographs gathered over seventeen years. Each picture was projected on to my face, resulting in a phantasmagoric image that was totally at odds with the purpose of the original ID photograph. Following the video the same subject was developed into drawings, where different types of pencils were applied to create the layers that shaped the portrait. The drawings focus on line and its movement. When an indefinite amount of layers of paper are used it allows the work to move in different directions, individual drawings can be substituted within the working process. The result is an attempt to create mental maps of the superimposed lines, irrespective of meaning and intention.

    In another series super-8 films found or acquired in flea markets are manipulated with very simple editing techniques, for example changing speed or direction. Others are superimposed with different layers of information, changing throughout until the final digital editing. Collecting objects and making some alterations to them has been a constant in my work. In the series Staunch mattresses carry sentences from newspaper headlines sewn into their surfaces. The mattresses relate both to the private and the public, to the strange and distant as well to the familiar.

    The processes of alteration and displacement in these works occur in different ways: sewing on mattresses, embroidery on canvas, modifying the nature of an original film and recently, transforming mattresses into sleeping bags. I am interested in dealing with missing links within found materials, and my work often extends its life into other contexts, an operation that occurs with installations as well as the video pieces. History and autobiography cannot be exactly located, and personal issues develop together with public issues.

    Eduardo Padilha


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