Do you think since there are less Portuguese web designers or artists getting a break internationally, or known out there — i.e. in comparison to other European countries, such as Spain which has an extremely competitive market and many designers have been surging internationally. Do you think that it may be easier to get your name out there, coming out from Portugal? Could it be an advantage or disadvantage?

I don’t think Portugal has a strong or established design/art culture. We can’t even compare it to USA or other European countries like Spain, Holland and England — by far those are the best ones, i.e. knowing that their governments and institutions give more support to these areas. As well as in many aspects of preserving and promoting their culture. To me, most talented artists have to struggle to get recognition internationally. And it’s a disadvantage because our culture has no past icons or land marks in these areas which could possibly help others understand more about the social and cultural aspects of our country.
For example if you take “Spanish artists” such as Picasso or Dali, or even think about “Year of Design 2003” in Barcelona — there is definitely a big difference, and I wish someday we could see such a panorama here. I wished that our artistic fields would be more like what football (soccer) is at present in Portugal — competitive and with more funding.

How has the Internet benefitted your career? Has it given you new opportunities you wouldn’t have been able to acheive if not through this virtual platform?

Sure, there’s no doubt about it. With the Internet, I’ve been able to communicate and learn a lot without having to step out of my home. Therefore, I was also able to review my career goals with all this inspiration of meeting new and interesting people; and being connected virtually to clients who surf the web (I call them, the “good will snipers”). [Laughs]

Out of all the art techniques you do, which one gives you greater pleasure.

Pen on paper sketches.

The techniques that give me more pleasure are sketching and free scribbling. They are for the fun of it; I can do it wherever and whenever I want to, even when I’m bored. The good thing is I can always grab a pen from my pocket and sketch on a napkin or something. I think the least expected moments are the ones that give us unpredictable and surprising results. To start and sketch an idea which we’ll remember and later work on more. I also love to paint, although it requires some preparation with materials and more costs to get good artwork done. On the computer, I’ve been dealing a lot with portrait illustration, it’s something that I've been getting a lot of positive feedback on.

You also do music mixing. Do you have any upcoming experimental projects in that field? Maybe, mixing art with music in a new way?

Yes, I’m considering it. I always have ideas constantly biting my ears and head, just waiting to be released... but I haven’t got much time for it. And if I do it, it is just for the pleasure and fun of it. My next music experiment will probably be a broadcast DJ mix with some of my playlist tracks. I’m thinking in October, I’ll broadcast it.

What do you really want to be: an illustrator, painter, web designer...? And Why?

Hmmn... At present, I do whatever I have to do for a living. My aesthetic goals are more or less defined and will always be in constant progression, and for now I’ll let things roll to do a bit of everything (including DJ’ing which is also amusing). I.e. until I define a permanent role, or get a good work proposal — one that I’m comfortable with. One thing I’m sure about, is, I want to keep working but managing my own business/freelance. Even though, I can say the field of illustration is in 1st place.

Does most of your artwork have symbolic meaning to it? Which themes intrigue you at present?

I don’t have any symbolic issues in my work. Well, I just don’t think about it, but maybe they are there. The results come out most frequently (aestheticly speaking) attached to a formal and fine balance which let’s the public interpret as they see it. My presentation is more like randon and shapes that interact with eachother, and it expresses my own perception of “destruction” of daily life experiences.

I have a passion for machinery, complex systems like schemes and codes, and the human body and psychology. I try to deal with social issues with an ironic and satirical approach. And I also love to incorporate typography within my projects — mixing everything together gives me great pleasure.

You once commented, “I find that the public crowd always feels more attracted and intrigued when confronted with violence, death, sad issues, rather than romantic ones.” Do you create art for you, or to please the public? Who/what comes first in your process?

For any artist to achieve success it is essential that they are comfortable and confident with themselves, and that, should be the first step before trying to please and reach an audience. It is what happened in my case and it was a natural process through experience and time spent drawing — it all came together:

- My personal life experience.
- The method of throwing work on paper or on screen.
- Friends and public comments, critics feedback. Constuctive criticism (positive and negative).

So if I tried to please the public first, I guess I’d leave things/topics behind which I’d like to develop further. And if I start by doing art for me, I can allow the public to review and consider my work in an open way. What I’m saying is, I create first, and I don’t fear public reaction. I even like to spice things up a bit when needed.

In relation to the previous question, are you attempting to analyze your art through your audience/those who view it? And by showing violence and death, is that part of your procedure to understanding life and human psychology?

Yes, it comes and goes depending on how I feel during certain hours of the day. I.e. if I am bored, if I am happy, etc. It is all based on my own learning experience, which includes testing the public when I add controversy to my work (I obviously don’t want to attack third parties). I feel this way I can know myself better and get to know a lot more about what most people fear and desire — among knowing their perception of my work. I’m also feeling that as we fall in love and make important decisions in our life, our work changes as well (sometimes without even noticing it).

What time of the day are you most inspired (i.e. morning, afternoon, night)?

Everyday is a brand new day. My lack of routine possibly pulls me more into the night until the morning. I have the craziest ideas when I don’t sleep. Sometimes a simple and random thought can bring on a quotation that will fit perfectly in a work piece.

Have you gotten “crazy” enough to spend full nights or days painting, and coming to the conclusion that the paintings are almost being done on their own...like in a strange dream-like way. If yes, how do you feel when you get a chance to review the work again, some days after with fresh eyes?

Exactly. It’s always better to leave it when we think “It’s almost there,” or look into it later on. I usually ask for feedback when I have doubts, it helps me a lot. Although the strangest thing is if I don’t finish something from start, I end up getting uninterested and jump to another piece — sometimes paint over the first one.

Why has school been less a priority to you? You stated to me recently it was in 2nd plan as you work and study. What are your objectives in terms of school?

I’ll finish it with whatever it takes! I feel that I’m prepared theorically and technically, but professionally I have still a lot to learn with my work which so far has given me exciting challenges. That’s the reason why; I want to join theory to practice.

I’ve noticed that in design schools in Portugal, artists tend to want to be different but at present many dress the same way, and have the same type of lifestyles. Is there a big influence to fit into a group style at your school? Why do many dress in a grunge, 70s style, and most have breeded dogs, like yoga and tofu? Is this being different or is this a big artistic trend?

I think it’s part of the human socialization process. You see things everywhere, and by the time a colleague arrives — this student may adapt to fit preferences and avoid what they dislike. I personally don’t take much influence on the MTV trends, new Diesel shoes, etc. Although we can’t avoid falling in love with those old “Adidas” now in stores that we used to wear when we were little, or the Levis 501.. Hah.. I only speak in my behalf and I’m leaving already.

You’ve done magazine editorial spreads, and one for a skate magazine that has been rising in success in Portugal (“DIFERE”). What was it like designing for them, and was there a lot of creative freedom? Also, have you ever skated before?

Skate? As everyone, I tried, but it was a disaster. I prefer other sports like mountain bike, tennis and basketball.

Two separate page spreads for DIFERE skate magazine, designed by Carlos Quiterio.

In regard to “DIFERE,” now DFR mag (http://difere3.no.sapo.pt/), it’s on a good and successful path since RMAC started designing it. They recently won an award for the outstanding editorial work.

When I started out, the magazine was managed in a small room on a very low budget and contributions were scattered all over the country. It was a great experience at the time, since the magazine team were all skaters except me. And I suddenly felt a passion for this field. Besides, I was working with great friends and ended up meeting excellent people too. So far, it was one of the most rewarding professional experiences I’ve had — with having creative freedom for the layouts. The only negative point was that the whole magazine layout were created by several people at the same time, and as we had structure restrictions, no creative direction, or strict schedules — as a result it didn’t turn out as good as we expected.

Which artists have inspired you?

All good artists. There are so many, from different artistic aspects, presentations to concepts. I can say from the renaissance masters to cartoonists. Also, conceptual artists, painters, illustrators and contemporary sculptors. Just to name a few references: Klimt, Egon Shiele, Tapiés, Warhol, Gottfried Helnwein, Kent Williams, Mattew Currin, Kozik, Matthew Barney, Nicolas de Crécy; Derek Hess, Joao Abel Manta, and more.

Music is also important to me. It’s my main source of inspiration while I work. And movies, graphic and multimedia design...and let’s not forget magazine ads, comics...

Your art and sites have been featured on many design portals and e-zines, you have recently been invited for commission work on LA based mag, Flaunt. What do viewers and magazines usually say about your work? What qualities and characteristics stand out in what they say in regard to it.

I’m surprised and thankful for the positive feedback that I’ve been getting. It is what keeps me doing more.

You personal site is honestly fully-loaded with work that it just has very much to view and keep one occupied for hours. It has a lot of content in various art skills. Has including this amount of versatile work brought more freelance offers (i.e since the launch of the site this year)?

Yes, the site gave me a variety of new and different work which will keep me busy for the next months. It includes t-shirt designs, stock ilustration, manual illustration for a book; I’m also developing two sites for local friends who founders of an event project (antidote.pt.vu ) and a set/sculpture/animation/productions company (origamiproducoes.com). I also designed their logos (deep breath..... I need a vacation)

What good tips can you give to other freelance designers trying to pull their way into the design community — either with a new portfolio site, or even trying to send art samples to companies.

I would say: Be honest. Do what you love the most on your spare time rather than watch stupid sitcoms. Get inspiration from offline things and online; produce work like there was a scheduled/deadline; remember to ask for feedback/comments; draw/sketch ideas on paper, and bring along paper and a pen where ever you go to take notes and draw; and travel — enjoy nature!

I learnt that one must always be aware of inspiration signs — by keeping their eyes opened. Remember, do it your own way even if it is in the strangest places. And above all respect others (What goes around comes around).

Have there been any films this year which you truly enjoyed.

Yes, I loved seeing, “The Fast Runner,” “Cidade de Deus” (City of God — don’t lose this one for nothing!!), “Bowling for Columbine,” and “Gangs of New York.”

As I generally ask as a last question: What artist(s) would you like to see featured at Scene 360. I would like to ask instead: Out of all the features you’ve read on our site, which did you enjoy the most, and why?

I’ll answer both. A suggestion is Transfatty for the next feature. He is successful, an excellent pal with an unpredictable funny karma and good sense of humor. Transfatty is diverse in fields, film, shorts and motion work.

About the Scene Issue, I especially liked that last animation with Eduardo Recife and You (Adriana). The soundtrack and the imagery are really nice! It captured my attention. Keep up the good work!

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Credits:

+ Interview & Design by Adriana de Barros, about the author

Top illustration, “Self-Portrait” © Carlos Quiterio

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