Yes, but how that translates into jewelry?
GR: It translates through the imaginary pictures that each has. I base myself in a very dali cityscape and then arises the jewel. This happens a lot in my work.
After capturing this image it appear the materials?
GR: That's something that happens empirically, sometimes I think that looks good a schist stone or a pebble that I found in the river, or the sea, or decide later on just metal. Sometimes, the process happens on the contrary, I meet the materials first that will serve for something and after a while an idea comes to lead the way. It turns out a bit so it's already 22 years in this imaginary, this strong construction and this is already in my blood, as they say.
The choice of unconventional materials appear from the beginning of your career?
GR: They appear from the moment I start the arts course at ESAD in 1997.
So why continue to use these unusual materials?
GR: It happens because the materials themselves have messages. Have a special meaning for me and who acquires the pieces an awareness. Sometimes I also have to communicate it, I can say that there are a number of pieces that use a red ground, which exists in the Sierra de Santo António, where my mother was born in Leiria, and this has a very great significance, we are all earth and because it reminds me of my mother who was a hero to me. When I use this organic material I remember the strong woman who never looked back, right or wrong, she went on, fought and overcame her obstacles. Therefore, when using this earth along with some rocks where I step, these limestone that has the marks of this climate, of this austerity. I give much value to this, a stone that had a tear over the centuries, caused by weather, rain, byeverything. Unlike a pretty and polished stone, which for me has no meaning. When I use these materials it seems am I embracing them, why? It takes sometimes known well locations, which also has a meaning, where I catch my materials. I was recently in a village shale of Lousã and I saw a house completely degraded with materials scattered everywhere, asked if I could take and they told me that yes, I took some tiles with which I made several pieces that sold at Christmas past. I do not live very concerned about these things of inspiration, has no meaning.
You do limited Collections, which is what defines the best? Or do you think that you are well represented?
GR: It is precisely the pieces that use materials with a very strong message, as in the case of the red earth. It is a ring with the representation of two cypresses, which hardly can be practically use, but the goal is not really this, is to contemplate more, to admire the scenery, or the person who is there represented. That's what worries me most. Obviously I also make pieces that are to use, I live my work. Now, I would like to make just such pieces, but you cannot, you must have a statute or plafom to endure, it is difficult to live from art, much less in this period. But, I like the piece I did with a person reading a book, or with polished stones by sea from the Leça beach with I pins to make them able to contemplate, because they are so beautiful and has such a strong message.
And the imaginary African exist or not?
GR: I actually was born in Angola, but came very early, was only 10 years of age. I never thought about it, but never bothered me, maybe the African imaginary is there, and come back thtu the red dirt I like contemplate, because the land in Africa is also this color and the setting of the sun was very strong, I remember that. Probably all that everything is interconnected in my heart, but working this theme I never did.
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