


BIO
Vitor dos Santos, a visual artist and university professor of visual arts, lives and works between Lisbon and Alentejo, Portugal/Europe. His three-dimensional artistic practice seeks to capture the incisive and provocative spirit that appears in our society today and that drives a mixture of feelings in people. In his artistic practice, he seeks to place the observer in a conflicting position with people's emotional relationships; with things to which they are intimately connected, and which are related to post-modernity. He explores the fascinating terrain of the subject-object relationship, a relationship in social and aesthetic terms, crystallized in objects. If this work has its foundations in Romanticism, in the way it represents emotions or states of being, the artist tries to apply artistic strategies that are indebted to the renovating endeavors of Duchamp, Warhol and the conceptualists. Another important aspect is how, by imitating and parodying the limits of social desires represented in objects, he draws attention to the power that these objects have to capture "material" emotions. This reduces the mystery of the objects, while reinforcing the "aura" of the work of art that rivals the dominating desire of the objects.
Vitor dos Santos, visual artist and university professor of visual arts, who lives and works between Lisbon and Alentejo, Portugal / Europe. His three-dimensional artistic practice seeks to capture the incisive and provocative spirit that appears in our society today and that drives a mixture of feelings in people. In his artistic practice, he seeks to place the observer in a conflicting position with people's emotional relationships; with things to which they are closely linked, and which are related to postmodernity. Explores the fascinating terrain of the subject-object relationship, a relationship in social and aesthetic terms, crystallized in objects. If this work has foundations in romanticism, through the way it represents emotions or states of being, the artist tries to apply artistic strategies that are inappropriate to the renewing endeavors of Duchamp, Warhol and the conceptualists. Another important aspect is how by imitating and parodying the limits of social desires represented in objects, it captures attention to the power that these objects have to capture “material” emotions. This reduces the mystery of the objects, while reinforcing the "aura" of the work of art that rivals the dominating desire of the objects.