lucia david

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After a seven-year career in Graphic Design and Fashion in Portugal in 1997 Lucia David went to the UK to study Fine Art. In 2000 she graduated with a BA in Metal/Sculpture at Camberwell College of Arts, The London Institute. In July 2002 she graduated with an MA Book Arts from the same institution. Her work as been installation/art, produced with and around her original short stories and included metal and paper and the superimposition of new short stories onto second hand books, mainly by embroidery. Her work reflects the combination of her Portuguese cultural background with present and relevant women issues and world politics.

Seguidores

Arquivo do blogue

► 2011 (2)
- ► Outubro (1)
  - Moments, places, smells and repeated dreams mix to...
- ► Abril (1)
  - WAS IT POSSIBLE

► 2010 (7)
- ► Março (1)
  - moonlight
- ► Fevereiro (1)
  - DEPARTED (in 31 days)
- ► Janeiro (5)

▼ 2009 (3)
- ▼ Outubro (2)
- ► Agosto (1)
  - IRON AND FLESH My great-grandmother was an unbendi...

KAUNO BIENALÉ-TEXTILE'11
22 september-4 december, 2011
lithuania- the 8th international festival : REWIND PLAY-FORWARD

WAS IT POSSIBLE? - TREMA - LISBOA - MARÇO 2011

Wilful murder against some person or persons unknown.

why?

TREMA 2011

where from?

TREMA 2011

tales ?

TREMA 2011

what suspect?

TREMA 2011

certified lunatics

TREMA 2011

Krafft-Ebing believed that the purpose of sexual desire was procreation, and that any form of desire that did not go towards that ultimate goal was a perversion. Rape, for instance, was an aberrant act, but not a perversion, because pregnancy could result.

what knife?

TREMA 2011

leather apron?

TREMA 2011

time of death?

TREMA 2011

box or bag?

TREMA 2011

Nobody saw or heard anything

TREMA 2011

there was a wine glass and a half of blood in the gutter at her side but claimed that he had no doubt that she had been killed where she lay.

What a pretty necklace I gave her

TREMA 2011

Fall from grace…

TREMA 2011

Tother piece I fried and ate

DETALHE

Tother piece I fried and ate

TREMA 2011

From hell.
Mr Lusk,
Sor
I send you half the Kidne I took from one woman and prasarved it for you tother piece I fried and ate it was very nise. I may send you the bloody knif that took it out if you only wate a whil longer
signed
Catch me when you can Mishter Lusk

"I must pull myself together and go out and get some money or I shall have no lodgings."

doing crochet

trema 2011

The proper red stuff

TREMA . 2011

Dear Boss,
I keep on hearing the police have caught me but they wont fix me just yet. I have laughed( a man would smiled?) when they look so clever and talk about being on the right track. That joke about Leather Apron gave me real fits. I am down on whores???? and I shant quit ripping them till I do get buckled. Grand work the last job was. I GAVE THE LADY??? NO TIME TO SQUEAL. How can they catch me now. I love my work and want to start again. You will soon hear of me with my funny little games. I saved some of the proper red stuff in a ginger beer bottle over the last job to write with but it went thick like glue and I cant use it. Red ink is fit enough I hope ha. ha. The next job (abortionist????) I do I shall clip the ladys ears off and send to the police officers just for jolly wouldn't you. Keep this letter back till I do a bit more work, then give it out straight. My knife's so nice and sharp I want to get to work right away if I get a chance. Good Luck.
Yours truly
Jack the Ripper
Dont mind me giving the trade name
PS Wasnt good enough to post this before I got all the red ink off my hands curse it
No luck yet.
They say I'm a doctor now. ha ha

DETALHE - THE PROPPER RED STUFF

Small drug store

TREMA 2011

CEM SEM

1º PRÉMIO CARMEN MIRANDA

MOONLIGHT

MOONLIGHT DETALHE

NOVA EXPOSIÇÃO

GALERIA MUNICIPAL DE ABRANTES

SAPATOS DE IR À CIDADE

2009

A SOVA

2010

LATRINA - 2009

domestic crime scenes

Sur l'initiative de "4,Barbier" un jeu collectif et expérimental

4, BARBIER - GALERIE VITRINE D'ART CONTEMPORAIN

amoncellement - day 2

marre basse - day 9

racines - day 10

brouillon- day 18

l'été des cigalles - day 25

table - day 26

melancolie - day 27

la journée de ton arrivée - day 29

rencontre - day 30

UNTITLED LOVE - 2006

love letters 2007

love letters - detail

SMALL HOTEL - CONDENSED BOOKS SERIES - 2004

lovely bones - book by alice sebold

Inside the snow globe on my father’s desk, there was a penguin wearing a red-and-white-striped scarf. My father would pull me into his lap and reach for the snow globe. He would turn it over, letting all the snow collect on the top, then quickly invert it. The two of us watched the snow fall gently around the penguin . The penguin was alone in there, I thought, and I worried for him. When I told my father this, he said, “Don’t worry, Susie; he has a nice life. He’s trapped in a perfect world.”

REVOLVE, SURROUND AND DISCLOSE (2006)

how to be brave

Esta série de trabalhos, memórias que retenho das duas avós, é sobre a capacidade de guardar no peito sentimentos duros e continuar a viver em silêncio, sem queixume…como mulher, como mãe e como viúva.
As minhas duas avós, são para mim dois exemplos de como ser corajosa como mulher num período de ditadura, sem o marido que supostamente deveria estar presente para apoiar e alimentar a família.
A mãe do meu pai – Augusta - uma mulher de fibra, vestida de preto, uma "viúva" separada, geria uma pequena Pensão. Tinha 3 filhos nascidos e estava grávida quando o marido se abandonou ao alcoolismo.
A mãe da minha mãe - Natália - uma mulher dura mas delicada que se dedicou à costura. Tinha dois filhos pequenos, foi uma lutadora. Ficou com o negócio das bicicletas do marido quando este partiu para sempre para África. Vestia-se de cores doces e claras.
Lúcia David , 2009

how to be brave

expiation

unrelenting

a darker side

QUI PRO QUO - MAPRA - LYON 2009

There are many expressions in current everyday spoken Portuguese that originate from the French language (francesismos) - à la carte, à la minute, abat-jour, atelier, ballet, bibelot, bon vivant, bouquet, boxeur, cabaret, cache-col, carpette, casse-tête, charrete, chauffage, comité , complot, controle, crayon, crochet (croché), dejá vu, démodé, foyer, gaffe, glacê, guichet, habitué, hors-d’ouvres, laisséz faire, laissez passer, matinée, madame, manicure, maquillage, ménage, menu, mousse, noblesse oblige, au ralenti, réveillon, savoir faire, soirée, soutien, tète-à-tète, toilette, tournée, tout cour, travesti and tricot.(Dicionário da Língua Portuguesa, 5ª Edição, Porto Editora – PALAVRAS E LOCUÇÕES ESTRANGEIRAS USADAS NA LINGUAGEM ESCRITA E FALADA)
My favorite ones, which I use all the time, are from Latin…vade retro, Satana! and qui pro quo (quid pro quo - correct latin)

qui pro quo I (2009)

Facturas (invoices) Assentos (notes)
I don´t know if my grandmother on my father’s side went to school. But she knew how to read and sign her name. She ran her own small hotel for more than twenty years. She had three sons and one daugther. Augusta was her name.
My grandmother on my mother’s side was called Natália. She went to primary school for two years. She could read and write. She liked newspapers. Apart from being a ‘natural-born housewife’ taking care of her siblings and later, a ‘left-behind mother’ with two children, she was part of a village theatre group for a few years.

qui pro quo II

Jornais (newspapers)

There were three boys in my grandmother’s house, my father and his two brothers. All three completed primary school. Lots of sport and weekly newspapers were bought for the twenty years they stayed at home before getting married.

qui pro quo III (2009)

Literatura (novels)
My father was a good reader, when young. My mother a good housewife. There were not many novels left in the family library.

qui pro quo IV (2009)

Dicionários (dictionaries)
Many times throughout my childwood my grandmother Natália would use sayings that were lines of texts taken from the plays she was part of, and others from Latin, and many proverbs translating the fate of life. There is one current Portuguese saying that she would use about educated and possibly snobish upper-class people, that goes: “ é como o gato maltês…sabe tocar piano a falar francês…” This translates as, ‘The idea that well educated people play the piano and talk French’. It also comes from a portuguese children’s song ryme.

FIVE STAGES

DYSFUNCTION

Love is always dysfunctional, one way or another… deranged hormones and non-explicable sequential happenings and feelings, that can be ferocious or kind, simple or extremely damaging. As in previous works, I see love as a dictionary definition only, as something that we can talk about, but we can not explain or define rationally.
This work is a series of canvas, leather skin looking, that display single non-events related with love lived in a feminine solo perception. (Lúcia David 2009)

TIME

THE PORTRAIT

O RETRATO

Em 1906, ela ficou grávida logo a seguir ao seu décimo terceiro aniversário. Viveu com a mãe e o irmão mais velho. Durante toda a vida nunca contou quem era o pai da criança. Os detalhes sórdidos do caso ficaram, para sempre, selados dentro dos seus làbios. Com dezassete ela começou a trabalhar como vigia no Museu de Arte Clássica local. Um acontecimento, anos mais tarde, que teve lugar numa tarde de inverno, mudou tudo, para sempre. Alguém roubara um quadro na sala que estava à sua guarda. Ela verificou, no fim do dia, que havia um espaço vazio na parede. Ninguém o mencionou. Ela trancou as portas como de costume. Foi para casa. Foi buscar os pinceis, os óleos e uma tela. Fez um café. Foi remexer a caixa velha das fotografias e tirou para fora um retrato de um homem na casa dos quarenta. Começou a pintar às sete da noite. Às oito da manhã saíu de casa para o trabalho com um saco debaixo do braço. Às dez e meia ela abriu as portas do museu e dirigiu-se para a sala onde se iria sentar o resto do dia. Ela morreu com noventa.
O museu aumentou o número de visitantes desde que um historiador de arte fez menção a um retrato do século XIX de um importante professor de pedologia e um benfeitor da sociedade. Esta obra, de um artista desconhecido, fazia parte da colecção do museu. A pintura encontra-se na Ala do Retrato, Sala Vermelha, segundo andar.

OUT OF BREATH

According to tradition, there must be nothing between the woman and the water at any point of her body, and therefore before bathing, the woman is traditionally required to remove all jewelry, make-up, and any other obstructions (defined in such a way that in modern times this would include contact lenses); the rabbinical tradition requires full immersion, including the whole of the hair.

UNIQUELY YOURS (DETALHE)

The Story of Menstruation increased its reputation when it received the Good Housekeeping Seal of Approval. The Story of Menstruation is believed to be the first film to use the word vagina in its screenplay.

UNIQUELY YOURS

Mayan mythology explains the origin of menstruation as a punishment for violating the social rules governing marital alliance. The menstrual blood turns into snakes and insects used in black sorcery, before the Maya moon goddess is reborn from it.

MY CROSS - CYCLE OF VIOLENCE

MY CROSS - I'LL NAIL YOU DOWN!

MY CROSS - YOU MAKE MY SKIN CRAWL

MY CROSS - MISCONCEPTIONS

MY CROSS - PRO

MY CROSS - BELLES IMPARFAITES

IF GOD WAS A WOMAN - NÎMES - 2009

Portuguese Catholic women (of over 50 years old) assumed and endured personal (physical and emotional) suffering as a way of life, only bearable because of the idea (greatly supported by the Church) that as Jesus Christ carried a heavy cross during His last walk, so they also have to carry their own cross during life. It starts with the fact that most women got married while still virgins, with no sexual experience or knowledge. They had to be pure to offer themselves to the husbands and endure married life as it came, good or bad. Following the path of female saints and nuns, most married women easily took to this idea of finding redemption in a life after death, through suffering in constant emotional distress and sexual frustration, battering by their spouses and illnesses, always behind closed doors, most of the time behind closed lips ... As widows they kept to the black dress code till death. Love was a total form of devotion to the spouse, the father figure, the patriarch, the public authority or to God.
Presently young women are liberal and free to work and have a chosen life. Society again imposes the limits – male-formatted society calls for the freedom of being beautiful and desirable. The model is no longer the virgin, mother of Christ, the housewife, but the slim-built, big-breasted, forever-young, independent worker…

« It is common for a woman to use her implants as a liberating experience and a sign of independence and self-empowerment. This factor accounts for the large number of women who choose to get implants after a divorce or bad relationship. » (internet article)

If back then women would look up to saints, now they look up to the cinema and fake fashion goddesses. Sexuality plays the biggest role, not in a reproductive sense, but as being a desirable sexual partner. The new products are not only beauty products, but invasive plastic-surgery procedures – today a popular request among females, from teenagers to the old. Saving the body from harm is not the question, harming it is mandatory.

Motivations for Breast Augmentation - The motivations for undergoing cosmetic surgery have been categorized as either internal, for example, desire to improve one's self-esteem, or external, for example, undergoing surgery in order to please or obtain a romantic partner (Edgerton & Knorr, 1971; Pruzinsky, 1996). Although a distinction between internal and external motivations is difficult to ascertain in clinical practice, patients with internal motivations are thought to be more likely to meet their post-operative goals (Honigman, Phillips, & Castle, 2004). For women interested in breast implants for cosmetic purposes, the anticipated positive effects of surgery on psychological status (e.g., quality of life, self-esteem) and romantic and other social relationships (e.g., improved marital and sexual satisfaction) likely influence the interest in surgery. Informational and medical factors (e.g., knowledge of risks and benefits) are also thought to play a role in the decision to seek breast augmentation (Didie & Sarwer, 2003; Goin & Goin, 1981; Sarwer et al., 2000; Shipley et al., 1997; Young et al., 1994 ( internet article)

“Breast augmentation statistics for 2008 were released on March 16, 2009 by the American Society for Aesthetic Plastic Surgery. With the economy in a tailspin, the choice of breast augmentation has been remarkably resilient as the statistics show. The statistics released today show that 355,671 breast augmentation procedures were performed in 2008, down just eleven percent from the year 2007. Considering the massive drop on Wall Street last year, the drive and desire for this popular surgery waned only slightly. This is the first year in which fewer breast augmentation surgeries was done than the previous year, but in today’s economy it is not a surprise.” (internet article)

Women can survive breast cancer or colon cancer, and they can live a longer life. Interestingly plastic surgery can play two important roles: to survive a fatal illness, and also to keep looking good for your partner.
Paradise, which used to be an “after-life” concept, is nowadays a reality – sexual pleasure, achieved through the readjustment of the body according to the male idea of a perfect female body.
The world is filled with free women, dressed in black over reshaped bodies…”

“Tired of guys who want you for your mind?” (advert quotation)

Lúcia David 2009

IF ONLY...2009

untitled abuse - prey

untitled abuse - the eye

“Untitled Abuse – 20 figures of speech”

Esta série de trabalhos faz parte de toda uma pesquisa sobre o mundo das mulheres visto de dentro para fora, através da ficção e da realidade de uma sociedade formatado no masculino. A violência doméstica, uma nova terminologia legal para traduzir violência física a psicológica contra principalmente as mulheres, continua a ser um tema de debate e não um problema erradicado definitivamente da sociedade tão dita de moderna. Para além de uma violência visível nas nódoas negras do corpo há na sociedade actual um outro tipo de abuso sobre as mulheres camuflado pela ideia de possibilidade de escolha e libertação, ganho de estatuto ou poder, que duplicou o fardo na vida das mulheres.
Se no passado teríamos que ser castas, puras e boas mães, hoje temos que ser eternamente belas, jovens e de corpo perfeito. A imagem pública do corpo da mulher foi destituída de naturalidade e substituída por uma imagem retocada, reajustada e irreal. A máquina económica alterou a percepção geral da vida e o sentido consumista veio dar uma força totalitarista à publicidade. Tudo está na mira do sistema económico, incluindo o corpo com que nascemos. No caso específico do corpo feminino este tem sido no último século um dos “objectos” mais utilizados pela máquina económica, para vender produtos ou para ser ele mesmo um produto ajustável.
A ideia de do corpo feminino como um produto ou objecto, retirou às mulheres a capacidade de domínio da sua vida e devolveu-as uma outra vez à eterna prisão…a visão masculina da mulher ideal, com um sentido de posse físico e emocional que alimenta e faz “engordar” velhas ideias como - “Esta é a minha mulher! ou - “Entre marido e mulher não se mete a colher…”

untitled abuse - accidents

untitled abuse

"what you don’t know won’t hurt you"

o esvaziamento das ideias e das vontades induz à contemplação no vazio. O esgotamento da mente leva à letargia e a um estado amorfo. Olha-se a superfície e ignora-se as camadas subsequentes. As superficies e as texturas tornam-se mais importantes; são menos polémicas que os conteúdos. Ignorar parte da realidade é um conforto e é uma opção. LÚCIA DAVID 2007

GALERIA ENQUADRAR - AVEIRO (2007)

doubt, for G (2007)

IN BLACK AND WHITE

Aveiro Suicide
Pressente-se o comboio. Distante. Sempre. Sensação de que algo pode entrar. Presença latente no vazio. A parede de vidro denuncia-nos, não nos protege. De olhos fechados. Momento de calma pesada. O coração bombeia vermelho rápido. Medo instintivo prega-nos ao chão. As extremidades estão frias. O ar entra gelado. Insuportável, o ruído. Abre-se numa conversa inflamada. Dilata-se com força destrutiva, carrega explosões de vidros. Em turbilhão, à volta do edifício, deixa-o alicerçado no medo. O desconhecido poder do eixo. As frases no interior da casa gemem. O cérebro quer apagar para a noite. Não consegue silêncio. Inunda os sonhos. Não estar lá durante dias faz-nos querê-lo. Calma indo e vindo na areia. Azul que oculta vida e morte. Reflexos. Essa sensação de controlo. Uma pasta baça rodeia. Salpicada. Pontos em movimento desordenado. Gaivotas. Chove macio. Transpira-se. Sons familiares. Interesses comuns. Ideais opostos. Desespero de causa. Descrédito e embaraço. Sofreguidão. Frio, dores musculares. Sangue quente. Sangue. Sangue gelado. Lividez. Solidão. Solidez. Vaguear em curva. Pés em sal húmido. Recolher e fazer. Poesia, qual poesia? Não gostar. Não fugir. Beleza insuportável, envolvente, invisível. Dor de dentro. Rasga. Move-se. Foge-se. Esvai-se. LÚCIA DAVID 2006

CRACKING (2006)

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