№043 11012024
Bruno Silva
Bruno Silva, Porto, Portugal
Uses photography as a vehicle in projects in the area of documentary / personal with special interest in territory and memory.
Only in 2014 began to publicly present some works.
Exhibits regularly since 2017 in Portugal
In 2018 finish the Master in Artistic Photography at I.P.C.I, Porto. In 2017, won the scholarship for Emerging Documentary Photography by Manifesto / IPCI In 2018 won the grant of the festival “Estação Imagem” Coimbra. In 2020 was one of the winners of Urbanautica Institute Awards In 2022 was part of the exhibition cycle of the Bienal de Arte Contemporânea de Cerveira and received honorable mention at Vila Franca de Xira Photography Bienal.
In Portugal he is represented by Adorna Gallery, Porto.
Uses photography as a vehicle in projects in the area of documentary / personal with special interest in territory and memory.
Only in 2014 began to publicly present some works.
Exhibits regularly since 2017 in Portugal
In 2018 finish the Master in Artistic Photography at I.P.C.I, Porto. In 2017, won the scholarship for Emerging Documentary Photography by Manifesto / IPCI In 2018 won the grant of the festival “Estação Imagem” Coimbra. In 2020 was one of the winners of Urbanautica Institute Awards In 2022 was part of the exhibition cycle of the Bienal de Arte Contemporânea de Cerveira and received honorable mention at Vila Franca de Xira Photography Bienal.
In Portugal he is represented by Adorna Gallery, Porto.
In the project Acrylic Afternoons, Bruno Silva explores his memories through layers of distinct phases of his life. Each phase evokes unique experiences and feelings—from summer afternoons to the freedom of adolescence and the reconnection with the sea in adulthood, tinged with romance and nostalgia. Bruno offers the sea as a space of memories that, as Betina Juglair describes in the project text “Land-Escape”: “they are memory landscapes, as if he digs the sand, holds a memory in his hands just so he can see it fading into the foam of the cold, nocturnal waters of time.”
Through practices with experimental qualities, Bruno dissolves into the images as part of the landscape, not trying to capture the sea but rather to intuit it, aware that “what matters the most is what is least apprehensible.” In various approaches, the artist seeks the elusive texture of memories, presenting the sea not as a direct object but as the continuous flow of recollection, which, as Betina wrote, “its eternal movement: push, pull, rise, fall, a clock as precise and as loud that one easily forgets about.”
Through practices with experimental qualities, Bruno dissolves into the images as part of the landscape, not trying to capture the sea but rather to intuit it, aware that “what matters the most is what is least apprehensible.” In various approaches, the artist seeks the elusive texture of memories, presenting the sea not as a direct object but as the continuous flow of recollection, which, as Betina wrote, “its eternal movement: push, pull, rise, fall, a clock as precise and as loud that one easily forgets about.”
