Castelo de Paiva, Portugal, 1982.
Based on an experimental game, the artist Dalila Gonçalves (Castelo de Paiva, Portugal, 1982) shows us the permeability between the materials and processes of artistic practice and everyday experiences. Gonçalves does this by means of a material and formal experimentation based on different elements that, for years, she has been incessantly collecting in her most immediate surroundings.
Through the use of tools such as installations, photography or ceramics, the artist conceives objects that do not always imply a real transformation of things, but which, in many cases, simply take the form of an unexpected, ironic, absurd or metaphorical use of the materials. By the subtlety of the information used, by the nature of the materials or through her apparently simple modus operandi, the artist also plays with her own “perception” and with the idea of “evidence”.
She has had numerous solo and group exhibitions in different cities around the world, such as London, Montevideo, Rio de Janeiro, Porto, Lisbon, Berlin, Blankenberge, Rome, Madrid, Seville, Tourcoing… and important interventions in public spaces in Portugal (Porto, Castelo de Paiva…) and Belgium (Blakenberge).
Her work is present in outstanding international collections such as Friedrich Christian/ Flick Collection (Berlin, Germany); Davis Museum at Wellesley College (USA), Colección olorVISUAL (Barcelona, Spain), Colecção António Cachola (Lisbon, Portugal), Museu de Elvas, (Elvas, Portugal); Frances Reynolds Collection (Rio de Janeiro, Brazil); Fundación Otazu (Navarra, Spain), Belle Epoque Centrum (Blakenberge, Belgium) or Museu ao Ar Livre (Oporto, Portugal), among others.