Installation View: Receptors Series - Mário's studio 2018, Madrid, Spain
Mastering and perfecting digital pixel painting with only primary colours, Mário's trichromatic digital paintings blend imagination and reality to take the viewer into a reflectionary world painted with a colourfully charged paradoxal journey of existential meditation.
A painter of paradoxes, Mário explores the individuality and the immateriality contradiction of his subject matter with multiple imaginarly compositions of colour.
Mário's simplistic visual colour narrative invites the viewer to discover his portrayal of The Wave Function Collapse of Quantum Mechanics.
In his ouevre, Mário meticulously places the viewer in the center of the narrative, as they unfold the composition of imaginative and flamboyant colours in his digital trichromatic paintings.
Influenced by his passion for Quantum Mechanics, Mário's unified body of work combines his fine art photography exploration with the physical properties of light to bring the viewer into a multicoloured metaphysical and existencial journey through their observation.
Mário's mixture of programming - without artificial intelligence, machine learning, data mining - and fine art photography creates a painterly and philosophically induced storytelling about the viewer's personal relationship with Quantum Mechanics.
Through his multiple digital hatching and cross-hatching pixel painting techniques, Mário creates a multi-series choreographed composition infused by a scientific and uncoventional subject matter.
Red. | Receptors Series - Mário's digital hatching and cross-hatching technique printed on fine art paper - seen through a portable 100x mobile microscope.
Mário's use of the physical properties of light and his conceptual display of the additive and subtractive colour model act out to the viewer as mediums from which he expresses and communicates to the viewer the most mysterious paradox of modern science.
Mário invites the viewer to a personal world of multiple colorfully imagined realities painted only by their physical existence and observation.
With a never-ending paradox of his printed paintings, Mário's ouevre takes the viewer on a visually colored journey of reflection of their own biology and discovery of their personal relationship with the physical properties of light.
Fearlessly searching for the perfect fine art paper through exploration and experimentation - different textures, different sizes, different weights - Mário shows the intrinsic significance and importance of the physicality of his artistic practice in printed form.
Fine Art Paper Calibration Experimentation - Mário's studio 2018, Madrid, Spain
Calibrating his large format digital printers and experimenting with native and non native fine art papers, Mário perfected and refined a raw technique of trichromatic colour in both digital and printed forms.
Pushing modern digital printing technology to its physical limits, Mário selects fine art paper as a material with overflowing light reflective properties - rather than a simple support for his digital paintings printmaking - and galvanizes its use as an essencial communication medium in his aggregated storytelling.
Hahnemühle Photo Silk Baryta 310gsm non-native hardware paper calibration - Mário's studio 2018, Madrid, Spain
Combining paper's light reflective properties with the subtractive colour model to blend together as an expressive medium in his compositions, Mário's practice elevates paper to be more than an artistic material of choice for digital printmaking.
Hahnemühle Photo Silk Baryta 310gsm - Mário's studio 2018, Madrid, Spain
In his work, every square inch is meticulously used to expand the viewer's perception, and in doing so, ultimately transforms every sheet of inanimate paper to become a living interactive canvas reflecting the viewer's intimate experience.
The result of his practice, is a chromatically pure observation transition from digital to printed form that strongly resonates with the meticulously depection of his subject matter.
Red. | Green. | Blue. | Receptors Series - Mário's studio 2018, Madrid, Spain
Dimensionality and technicality are prominently connected in his work.
In Mário's practice, the shift in scale for printed forms, requires a methodical technical painterly approach, specifically tailored for each dimensionality of paper in printed form. - as opposed to standard scalling of an image to larger resolutions, which interpolates individual pixels and inardvertly results in mixing of colours within each pixel.
Optimizing his digital canvas to achieve optimal resolution and dots per inch for each gigantic printed size, he tailors and paints each pixel to enhance the viewer's perception across multiple formats to constantly shift the viewer's painterly continuum in the physical world.
Blue. | Receptors Series - Mário's studio 2018, Madrid, Spain
His work is both sensory and intellectual, thought provoking and enigmatic, thrilling and revealing.
His thirteen series: Receptors, Rainbow, Polarization, Exposure, Double Exposure, Multiple Exposure, Time Exposure, Dodge Burn, Polarizers, Revelation , Dynamics, Mementos and Films are drawn with an immersive visual colorfully constructed language.
Dismantling and depicting the viewer relationship between the chemical-physical process of the revelation of film photography and light, Mário articulatly composes a metaphorical and photographical ouevre in his storytelling.
Mário's unique interactive use of light as a connecting thread between all series, demonstrates his fascination for the physical properties of light, making the viewer inhabit each painting as they experience their personal connection with light unfold before their eyes.
In his Polarization series, for example, Mário's digital hatching and cross-hatching technique is pictorially crafted to depict the four types of polorization of photons: Horizontal, Vertical, Left and Right.
His articulate and elegant composition introduces multiple ways to transverse back and forth between his techniques while drawing attention to the enigmaticly equivalent depiction of the same visual image.
With multiple digital
hatching techniques throughout his
ouvre, Mário creates and intentionally offers multiple forms of his narrative, displaying his ability to manipulate and perfect his pixel strokes to enhance and challenge the viewer cognitive perception.
Mário's digital
trichromatic paintings are exquisitely brought to fine art paper to unstable and shake the viewer's notion of reality. Carefully crafted to explore the
subtractive colour model in physical paper his work tests the viewer's individuality and existenciality while creating a coexistencial physical space with multiple imaginarly coloured realities.
Blue. | Receptors Series - Mário's digital hatching and cross-hatching technique printed on fine art paper - seen through a portable 100x mobile microscope.
In his pixilistic creative process, Mário often uses a contradictory approach in his
trichromatic pixel painting and storytelling. Influenced by the roots of his pixelation experiementation he often explores the duality between raw and heavily manipulated images by remastering photographs prior to his
trichromatic paintings.
Exposing this duality, Mário also exposes his painterly exploration practice of minimalist pixelation techniques. His stylistic use of
brightness and contrast results in a manually creative and methodical process. Creating and working with stamp-size like pixelated images, Mário remastered works display his craftsmanship and intention to encode in every pixel the metaphor of his
trichromatic body of work.
Brightness and Contrast Pixelation Remastery - Mário's studio 2018, Madrid, Spain
His
ouevre is a distinctly historically enriched work. In his work, he explores his interest in social and scientific evolution of the Universe in the preparation of his process for remastering old images onto his digital canvas.
Mário structures a thematically culturalized visual narrative in his storytelling. From ancient magazines, advertisements to symbolic figures from the past - or even ancient sports - he paints historical and cultural evolution in a compelling colourfully induced visual narrative.
Alternating between his
trichromatic series , his work not only presents to the viewer moments of their existencial history that are deeply connected to the open interpretation existencial reflection metaphor of his paintings but, his work also creates a dreamlike
trichromatic beauty in their most intimate moments of reflection.
Elegantly transitioning between digital and printed forms, Mário's combination of the
additive and
subtractive colour model immerses the viewer on an encircling discovery journey of their imaginative colour wheel and adds a physical, spatial and paradoxical dimension to their conscious experience.
With a unique
trichromatic digital
hatching and
cross-hatching technique, Mário also expands the participatory interaction with the viewer - without the need for a microscope - in multiple forms.
In his
Drawings, for example, Mário's art encourages the viewer to discover their intimate connection with colour by bringing his digital technique closer to the viewer's perception. The tonal and colourfully painted shading effects created by the complex matrix of his
thricromatic pixel strokes are often explored in multiple sizes to stimulate the connection and experience of the viewer with their imaginative consciousness.
Red.| Receptors Series Drawing - Mário's studio 2018, Madrid, Spain
Mário's choreagraphed
trichromatic multi-series composition display of pixilism constantly move between awareness and unawareness, the physical and the metaphysical, the pictorial and the representational, destabilizing the viewer's perception of reality.
Mário's pixel strokes bring a carefully composed narrative of pragmatic - yet, surreal - intimacy with the viewer. In his paintings, the imaterial sensuality of the relationship between the viewer and the image extends beyond space and time.
Raising deeply existencial and metaphysical questioning, Mário's paintings provoke an endless need for observation whereby the viewer and the painted photograpic image become a single and associated
subject matter narrative.
Infused with his passion for Quantum Mechanichal storytelling, and combining his understanding of colour theory with the complex physical properties of light, he matured a unique digital
trichromatic hathching and cross-hatching style to produce a
cohesive ouevre that is undeniably his own.
In Mário's work, complementary colours come and go, they blink in and out of existence coming from nothing without ever existing in the first place. Just like a magician's wand, primary colours collapse from and cohere back into their superposition colour states at the will of the viewer's observation.
Mário's visual colorfully enchanted quantum mechanical Universe is encrypted and encoded with an uncannily symbiotic relationship.
Primary and complementary colours are foreverly entagled in a waverly sea of superposition potentiality, simultaneously materialized and unmaterialized with the viewer's conscious blinking observational movements.
Shifting the viewer to encode and decode their subjective conscious and subconscious meaning, his sophisticated pixel strokes create an engaging desire of constant exploration of his immaterial materialization experience astheticately carving out the seemingly mysterious and paradoxical nature of instantaneously quantum mechanical flunctuations.
Through his series, Mário designs multiple imaginarly worlds capturing the viewers existence in their most intimate moments of creation and revelation, while transforming the physical space that contains their experience into a multiple reality room - that projects and amplifies the viewers conscious imaginative mind.
With an immersively use of colour and light, Mário opens up the perceptual subjectivity of a photograph descriptive power, regenerating its imagery meaning to encode and immerse the viewer in a mystical and spiritual experience.
Introducing
trichromatic pixel painting, his explosive use of colour is painted directly in each individual pixel. Mário juxaposes colours with multiple tones and warmness, repeating them in vertical, horizontal and diagonal pixel strokes enconding a new spatial and temporal meaning with stencling precision.
His
trichromatic intersection paths scatter simplicilty and complexity, reflection and cognition, perception and observation, and in doing so, he paints the subjective sublimeness beauty in the viewer's paradoxical observation experience.
Green. | Receptors Series - Mário's digital hatching and cross-hatching technique printed on fine art paper - seen through a portable 100x mobile microscope.
A dedicated and passionate quantum storyteller, Mário composes revealingly tales inspired by his fascination with the physical properties of light and elegantly displays each tale through the overwhelming power of the asthetic beauty in his paintings.
Throughout his oeuvre, he programmatically oscillates between darkness and brightness, flamboyance and inconspicuousness, minimalism and expressionism.
In his practice, Mário consistently explores the physical limits of each medium to purposely repurposing them together as the staging spectacle for his painterly storytelling.
Focusing on the narrative of perception, his work conflates the immensely descriptive world of photography and the richness interactivity power of paper, with the immateriality of colour to create his visually expressive quantum mechanical world.
From
photon polarizations to
white light refraction,
color vision to
photographic processing,
double realities to
multiple realities,
singularity to
eternity of time,
singularity to
multiplicity of colour, Mário's constructed
revelation world synthesizes both the
governing dynamics of light and the viewer's
consciousness with experimentation and exploration of multiple mediums, crafting his way into a polished and refined pixelated photographical art, while simultaneously providing the viewer with an immerseful discovery of the fundamental nature and paradoxical reality of quantum mechanics.
Intentionally composed as an instant photographic camera metaphor, his body of work transforms the viewer into a
self-developing film, revealing their experience through their observation within his multi-series
ouvre.
Decomposing colour to its most visceral primary
trichromatic form, Mário articulatly directs the viewer's attention to the complementary colour void in his paintings. He intentionally doesn't mix primary colours, directing instead the viewer to their immaterial materialization.
Horizontal. | Polarization Series - Mário's digital hatching and cross-hatching technique.
Alluding to the relationship between the observation and existence, Mário's compelling visual concept of the viewer's consciousness painterly bares the intricate nature of the reality of the quantum world.
Depicting an elaborate hallucinatory experience, he opens up the dialogue between the viewer's conscious and unconscious mind, deeply capturing the viewer's psychic in their most intimate moments of paradoxical creation of their reality.
In Mário's
ouvre, the dichotomy between what is real and imagined, what exists and what does not exist, is visually mirrored to explore issues of both simplicity and complexity.
His
Exposure series, for example, juxtaposes
chiarooscuro synthesized through the exploration of
Negative and
Positive imagery, transforming the mind of the viewer into their personal
photographic processing revelation darkroom, while expanding their consciousness during their moment of fabrication of their imagined reality.
Through the viewer's painterly observation continuum, his work creates a tension between lucidity and insanity, humanly and ghostly, possibility and impossibility, and in doing so, he accretes a seductive existencial, psychological and phylosophical questioning to the viewer's subjective experience.
Transposing
primary to
complementary colours, Mário's methodical liminal imagery compositions interplay with viewer's consciousness and existence, underscoring the unique expressiveness in his digital
trichromatic hatching and cross-hatching technique, to create a squared tesselated digital canvas, shifting only darkeness into brightness within each pixel.
Unfolding colour with his blinking visual narrative, Mário transforms the governing dynamics of quantum mechanics - quantum states, superposition and entaglement of quantum states, collapsing of multiple quantum states(wave function) to single quantum states through observation - from the remarkably complex to the exceptionally simple.
His artistic practice juxstaposes the deterministic and coreagraphed mixed media execution of his multi-series body of work with the
complete randomness of quantum mechanics, galvanizing the magneticly charged power of imagery to aesthetically stretch the limits of post modern and contemporary art in depecting an
unconventional subject matter.
Green. | Rainbow Series - Mário's studio 2018, Madrid, Spain
Mário's visual language switchs back and forth between the dark and the bright, the negative and the positive, the primary and the complementary, the before and the after, to challenge the tension between reality and fantasy, expressing the individuality and physicality of the viewer's subjective experience.
Thrillingly working as a suspension bridge between the before and the after, his
Exposure series, simultaneously evokes both journey and destiny, mimicking an elegant arche between fantasy and reality, paradoxicaly materialized - caused - by the observation effect of reality itself.
In his
ouvre, Mário seemingly pushes the boundaries of representation. Through an orchastreated multi-part series, he purposely divides the whole into parts, composing an intellectually charged quantum mechanical composition made of superposition blocks held together by the viewer's observation.
His
Receptors series, for example, viscerly deconstructs the viewer's causality and methodically paints it to bare. With a unique digital
hatching and
cross-hatching technique for each of the receptors of the viewer's eyes:
Red,
Green,
Blue, Mário explores the subjectiveness of observation, challenging the viewer to intimately connect with the cause of their observational effects.
Reflecting on the quantum mechanical nature of cause and effect, he intentionally juxtaposes and repeats series to compose his
Revelation installations.
Receptors. | Revelation Series
In his practice, he blends and colours pixels with both complexity and simplicity, purposefully juxtaposing dark and bright, imagery and colour, painting his distinctive signature with theatrical photographical performance.
RECEPTORS SERIES.
NEGATIVES. | EXPOSURE SERIES.
POSITIVES. | EXPOSURE SERIES.
Both abstractional and representational, Mário's asserteniveness is both imaginative and inspirational, exploring themes of singularity and duplicity, multiplicity and atomicity.
In his
Double Exposure series, for example, the single superimposition of imagery drives the viewer towards the duality of both a wave and a particle, evoking both a chance and an outcome.
Oscillating between a figurative wave and a figurative particle, Mário incorporates imagery itself as an amplifier of the superposition of colour.
Blending and superimposing multiple double exposed alternate realities, he perambulates themes of alternate causality, pushing the viewer to the edge of existentialism.
Working with both color and figure, he paints the viewer's abstraction of perception to create a perfect balance between reality and fantasy.
Alluding to the relationship between probability and possibility, Mário's technicality creates a tension between both single and multiple realities.
His
Multiple Exposure series, for example, multiplies and amplifies the superimposition of imagery, epitomizing the significance of the multiplicity of both waves and particles.
Wavering imagery and perception, his photographic practice divides and conquers both the abstract and the figurative, compelling the viewer to dissect the fundamental nature of quantum mechanics.
Uniting multiplicity and duplicity, his
Time Exposure series, for example, seamlessly paints the singularity of light, blending color with motionless imagery space and the movement of the passage of time.
Through freedom of abstraction, he engages superimposition of imagery as an avenue for expansion of technicality.
Issues of singularity, duplicity and multiplicity become a medium of practice and exploration, combining the infinite probablisitc nature of quantum mechanics.
His work is both flamboyant and restrained, elaborate and simple.
Emanating exhuberance and coolness, his
Dodge Burn and
Polarizers series, juxtaposes multiplicity and singularity of colour, expanding the viewer's painterly continuum to the realm of immaterialism.
Mário's
ouvre, exposes the simplicity and the complexity of quantum reality, seamlessly distorting the viewer's grasp of reality, both figuratively and literally, creating a perfect balance between themes of sexuality and immateriality.
In his
trichromatic mosaic series
Dynamics, for example, Mário scrutinizes the polyamory relationship between photons, electrons and the viewer in the materialization of complementary colors.
Recombining all of his light digital
hatching and cross-hatching representation techniques, to form a weavlye squared tesselated digital canvas of kinetic motion between absorption and emision of photons, he raises existencial questioning on the perceptual nature of colour.
Evoking scientific reasoning, his
Dynamics series exploits issues of both harmony and dissonance, disturbing the perception of the viewer's chromatic experience of reality.
Individually cutting, painting and gluing each digital tile by hand, Mário probes the meaning of phisicality, both in encoding a new meaning within each pixel, as in creating a unique signature of pixelated mosaic art that is uniquely his own.
In his practice, Mário infinitely juxtaposes and repeats to purposely create moments of infinitesimal quantum flunctuations perceived by the viewer's existential consciousness.
With a neverending multitude of combinatory
trichromatic variations of squared tesselations, his approach to art examines the hallucinatory experience of reality itself, while difussing and fusing the boundary of insanity and sanity.
Mário's richeness of abstraction methodically reflects his interest in intricately depicting the physical nature of light, while simultaneously raising awareness for the soundless coreagraphed and musically charged dance between photons and electrons behind the viewer's everyday coloured reality experience.
In his
Dynamics series, Mário's practice probes colour to it most fundamentalistic nature, visceraly depicting colour for what it really is - an existencial immaterial form of potentiality -, pushing the limits of intelectual abstraction towards sensory perception.
Placing the viewer's intelectual cognition at the center of the narrative, he explores multiple mediums - including mixed-media collages, post-painting photo manipulations - to create a cohesive quantum mechanical
ouvre filled with existential questioning.
His work is both spatial and temporal, conscious and subconscious, specific and generic.
Opening up the perceptions of abstraction, Mário constantly pushes the limits of representation, exploring imagery as a medium of infinitesimal possibilities of expression.
Alluding infinite recursion, Mário's
Mementos series, for example, raises awareness to the eternal paradoxical relationship between space-time and light.
In Mário's practice, the specificity and genericality of space and time are intricately probed to their most fundamental physical nature, portraying the viewer's individuality within the space-time dimension.
Merging the four dimensions of space-time within an infinite two dimensional plane, Mário dissects both the past and the future, the present and the eternal
memento - now -, placing the viewer into the center of perception of the instantneous photonic journey within the space-time dimension.
Speeding through at constant velocity, Mário's
Mementos series, purposely alludes to the everday perception of absolute time, constantly placing the viewer's back to the reality of the relativistic nature of time.
Detaching space and time through color and shape, his
Mementos series, both juxtaposes and scales, painting the viewer's perspective of the interconnectedness of the space-time dimension at the speed of light.
By negating the physical meaning of a photon at the speed of light, Mário's infinetely stretchs and dilates both in space and in time, bringing towards the viewer's awareness to complete the relatevistic nature of the fabric of the space-time dimension.
With relativistic precision, he brings both a spatial and temporal perspective on the quantum mechanical nature of light and its eternal relationship with space-time through a reversed perspective on both origin and destination.
In his
Mementos series, past, present, and the future are composed through an inifinite recursion of the eternal
memento - now, alerting to the viewer's everyday ilusion of the passage of absolute time.
His practice oscillates between the physical and the metaphysical, situating the viewer physicality within the space-time dimension, while pushing the viewer's consciousness to the realm of transcendence.
In his
Films series, for example, Mário's recursive matrixized fractal, brings the viewer's attention to the paradoxical nature of observational existence, raising questions of its essence.
Oscilatting inbetween multiple matrices operations, he presents a world where reality and the materialization of observation - perceived reality - are foreverly entangled together.
In his
Films series, Mário expands the language of perception, drawing the viewer into the paradox of the construction and the deconstruction of their own reality.
Shaping abstraction through carefully composed counterclockwise matrixized operations, his
Films series, presents the viewer with a representational expression for the calculation of probablistic amplitudes of the movement of light - symbolic figure for the quantum mechanical counterclockwise phase arrow notation.
His work is both physical and mathematical, scientific and random, evoking both the caotic and the organized patterns of chance.
Drawing the viewer even closer to the center of the duality paradox of both wave and particle, Mário's
Films series, meticulously superposes the duality of inverted - and reverse inverted - matrixes contained in each opposite sides of the fractal with the center - reality - itself.
Mário's dexterity with technique, abstraction, composition transports the viewer into a complete world of imaginative quantum splender, placing their observational existence at the center of his multi-part instant camera through his focused
ouvre lens.
With regards to his body of work, Mário says "The wave particle duality of light is one of the most scientifically proven paradoxes that exist in Nature - Our Reality -. For many years, the physical properties of light have sparkled my curiosity in multiple ways to research quantum mechanics and attempt to understand this paradox a bit more. - Not even quantum physicists today understand it completely - The paradox illustrates one of the many scientific mysteries of the Universe. The governing laws of Quantum Mechanics explain every single atom in our body. We are all quantum mechanical Human beings. In every painting, I explore the fundamental paradoxical Nature of Reality and express my scientific curiosity of the Universe. I let the painting speak when I observe it. Inside each painting, I find tranquility in the paradox that lives within me."
Mário won in 2018 the ARTITCO International Award A PICTURE PAINTS 1000 WORDS, London, United Kingdom for his
Receptors series artistic debut.
Mário Sousa.® was born in 1980 in Oporto, Portugal, and currently lives and works in Madrid, Spain. He graduated in Software Engineering at Instituto Superior de Engenharia do Porto where he wrote his dissertation research paper on Quantum Computing.
He is currently searching for professional gallery art representation.
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