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Teatro de Sombras, 1976 #LourdesCastro https://www.instagram.com/p/CO3aJa9gNxL/?igshid=d9oi4pusuxn8

OPEN TODAY 12-4 PM. NEW IN THE BOOKSHOP: DOMUS NO. 462 MAGGIO 1968 • Founded in 1928 as a “living diary” by the great Milanese architect and designer Gio Ponti, domus has been hailed as the world’s most influential architecture and design journal, distributed in 89 countries. With exuberant style and rigor, it offered energetic up-to-date coverage and analysis of major themes, developments and stylistic movements in product, structure, interior, and industrial design. Called the "Mediterranean Megaphone," domus has always been considered the most concrete published expression of Italian style, documenting a seemingly endless archive of contributions and features, frequently covering the works of the protagonists of the Anti and Radical Design movements, modern architecture, new experiments in environmental/spatial/commercial design, international product design, the activities of the Arte Povera, Pop art, Minimal Art and Nouveau Réalisme movements, and much more. • domus No. 462 Maggio 1968 Editor : Gio Ponti Editorial committee and contributors include : Cesare Casati, Pierre Restany, Agnoldomenico Pica, Pierre Restany, Carmela Haerdtl, Joseph Rykwert, Ettore Sottsass jr., Charles and Ray Eames, Kho Liang je, Bernard Rudofsky, George Nelson, Fausto Melotti, Tommaso Trini, Tapio Wirkkalaand, Rut Bryk, and more. features : Archizoom; The Living Theatre; "National Aquarium in Washington" by architects Kevin Roche, John Dinkeloo and Associates, with Office of Charles Eames; "Pneu: Inflatable Structures and Forms"; "A Mini Space" by Joe Colombo; new lamp edition from Didier Bernardin; Multiples by Franco Angeli, Lucio Fontana, Gino Marotta, Gianni Colombo, Fabrizio Cocchia, etc. by Tommaso Trini; "Charles Rennie Mackintosh 1868-1968; "Magistretti in Paris"; Art exhibitions; Book reviews; Lourdes Castro / Cesar / Jean-Pierre Raynaud by Pierre Restany; "The House of Roger Tallon"; Pino Pascali; Giulio Paolini; and much more. • One copy available in the bookshop today and via our website. • #worldfoodbooks #domus #gioponti #rogertallon #tommassutrini #pierrerestany #luciofontana #cesar #archizoom #lourdescastro #jeanpierreraynaud #joecolombo #charleseames #pinopascali (at WORLD FOOD BOOKS)

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Artist Diaries : Lourdes Castro

The Everyday Shadow How can someone capture a shadow?

In the late 1960s Portuguese Artist Loudres Castro set out to do just that. Finding shadows, an integral part of our day to day she experimented with different mediums in order to capture the shadows of friends and colleagues in their everyday lives. By casting their shadows onto a surface she then attempted to capture their silhouette either through paint or plexiglass. In some works she even had subjects lie on sheets of fabric or paper and painstakingly embroidered around their contorts while lying down. The most fascinating part about Castro was her need to be present, every stitch every etch was made by her hand but it was not the handmade that she wanted to highlight by doing this rather her presence in the act and live it. Human, so utterly human, is the first word that comes to mind when thinking about Castro's work. Specifically in a time where Pop Art was on a rise her earlier work did lend itself to the movement with the use of plastic and bold colours but the more she delved into her shadow studies, her art transcended any specific movements and lended itself to an anthropological study of sorts. After 25 years being in Paris after initially fleeing Portugal's dictatorship, Castro was ready to return home to Madeira. For the next decades till her death in 2022 Castro found a new love, her garden. Without neglecting all her work in the shadow world Castro studied how to capture the shadows cast by plants. Her garden now forever keeping her in the present, she catalogued over 100 different species of plants in what some could call an shadow herbarium. With a technique similar to cyanotype she spent time captured each and every plants shadow. The book in which she went on to publish all her works is called "Grand Herbiere D'Ombries" which translates to "Large Herbarium of Shadows".

When ever asked how she was doing, Castro would reply "I'm doing my work in the garden and being here, alive".

FOOTNOTES:

Born in Madeira Portugal, she fled the dictatorship in 1958 and lived in France for 25 years, through her time there we see the flourishing of the Parisian art scene, and how this Portuguese diaspora contributed to parisian creativity.

Soon after working with Pop artists and New Realists, Castro refined what would become her lifelong exploration of shadows using materials as diverse as screenprinting, paiting, plexiglass.

her art explored themes of domestic life, friendship and intimacy

in 1980s decided to settle down back in her home town and buy a house, she spent the following years in her garden considering the attention she pays to it her last work

Her final work Dhombres herbarium is a symbol of this contemplative life that the artist decided to lead from the 1980s onwards

SOURCE: Vidéo LSF * Exposition Lourdes Castro * Mrac Occitanie Sérignan

Castro was obsessed with the theme of the shadow which allowed her to explore the frontier between presence and absence, materiality and immateriality.

Lourdes was one of the first artists to get a sponsorship from a portuguese Gulbekian in 1950s

the group kwy was one of the first internationalist portuguese groups in which portuguese artists collaborated with international artists

KWY is also the magazine created by the group, 1958-1964

Commisioned by the Gulbekian to produce an issue each month and write a report of the things they saw in Paris at the time

Made manually, serigraphy made in their room. It was homemade and very experiemental. Artists were invited to collaborate.

1950s started making painting , she appropriated garbage and trinkets, making a collage. She covered them in a uniform paint.

The fact that she used object from the day to day made her be very premeturely contextualized in a new paris movement, Nouveau Realisme.

1960s till today the theme of shadows, peoples profiles in plexiglass

sweing the shadows of people on linen, the mdodels lay on the fabric

Made manually by her, not meant to highlight the hand touch but rather important for her to be present and make the action

Important to understand this about her the stubborness to be present in her work , doing the repetitive work. You can see the importance of this oriental school of thought, zen philosophy

Stubbornness of being present in making every moment special and living deeply

series in placed a vase with flowers on a table and drew the shadow, it is a sort of catalogue or herbarium, translating her intimate relationships with flowers and nature

Lets us know about this ever present intention being there present

She does these apparently repetititve gestures with the presence she imbues in everything she makes

She says vegetation and tress keep her a lot of company, she is never alone, the garden keeps her company

in her last years whenever someone asks how she was doing she would reply: " my work in the garden and being here, alive" this how she explains what has always been her life and work.

Reinvented the portrait through shadow and silouhette.

The plastic she used was a part of the vangaurds underway in eu at the time.

connection to peoples everyday life domestic life transferred in her work.

1968 asked her friends to lie down on a blanket and draw their contorts while lying. More intimate situation. She used an embroidery domestic technique from madeira.

All this connection to the places where she lives s important.

simple act of grocery shopping and the interior.

1972 big herbarium inventory of 100 species projected and printed directly onto photosensitive paper

1980 series Shadows around a center, shr made horixontally the paper and then puts it vertical.

Source: SOLE - SERRALVES IN TALKS: LOURDES CASTRO | RICARDO NICOLAU E ISABEL BRAGA

Techiques:

How the Plant Shadows Were Made:

Method: Castro placed undried plant specimens directly onto sensitised heliographic paper.

Exposure: The papers were exposed to natural sunlight. The sunlight caused the exposed areas of the paper to turn color (typically a rich blue, depending on the specific heliographic paper used), while the area under the plant remained white, creating a precise, high-contrast silhouette.

Technique Details: The process captured the shadows of about 100 different plant species. The resulting images were then hand-labeled with scientific or common names.

Comparison to Cyanotype: While cyanotypes (like those of Anna Atkins) use iron compounds to create white-on-cyan-blue prints, heliographic paper (often used for blueprints) is a similar, yet distinct, light-sensitive, sun-printing process. Kate Davies +4

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LOURDES CASTRO

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LOURDES CASTRO

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Lourdes Castro #lourdescastro (at Fundação Carmona E Costa) https://www.instagram.com/p/B3hq032pzun/?igshid=11u4b9km0j5c3

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