LEONEL MOURA THE FACES OF NEW AMÁLIA

Quoting Leonel Moura, exponent of Bio Art in Portugal, with “the increasing digitalization of our society (…) we have moved from creating works manually, or even conceptual, for digital processes. Current art is “designed” by algorithms, software and artificial intelligence, with the human artist having the role of triggering these processes and letting the machines “imagine” with as little control as possible. In fact, it is It is a little known fact, the first Amália of 1987 is already known. was carried out with the help of new technologies. The new Amália derives from these experiences from the end of the 80s. It is based on the original image generated by the scanner, which is created by the scanner. chaotic and square-based, to which I added an algorithmic manipulation. Finally, in the case of screen printing, I encouraged the combination of several images in the printing process, giving rise to several different editions.”

Despite being generated by artificial processes, without total control of its author, and beyond the chance of its conception, what results from the processes described by him in these screen prints, is This is a fascinating image of great plastic beauty for an icon of Portuguese Fado that has already become a favorite. rather inspired its creation. Mystery and music concentrated in a smile that never shows itself. In the look, all the vitality and all the melancholy, the dream, the suspension of a destiny that, when fulfilled, could fulfill Portugal. Addressing us now, from the threshold of the past where a future life seems to spread its wings in the endless flight of a spirit that remains.

Maria João Fernandes

AICA - International Association of Art Critics