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Carla Cabanas’ artistic work is permeated by her wonderings about how we come to build our own identity; how experiences, even the more prosaic ones, are inscribed in the fabric of our existence and how memory consolidates our personal narratives.The artist has exhibited widely in group and solo exhibitions throughout Portugal and internationally in Spain, Brazil, Argentina, SãoTomé e Príncipe and China. Her works are held in numerous public and private collections including those of the PS Collection (Stanislas y Leticia Poniatowski), Novo Banco Photo, Lisbon, P.L.M.J. Collection, Lisbon, National Gallery of Art, Washington, EUA, Fernando Ribeiro Collection, Abrantes, José Carlos Santana Pinto, Lisbon, Marín Gaspar Collection, Alvito, Banque Privée Edmond de Rothschild Europe Collection, Lisbon, Fundação Luso-Americana para o Desenvolvimento, Lisbon, and Coleção KELLS, Santander. 

I don't trust myself when I'm sleeping II - Beware of the snakes, 2021
Intervention and gold leaf (22K) on color photographs
48,8x44cm.
I don't trust myself when I'm sleeping II - I don't need to believe, 2021
Intervention and gold leaf (22K) on color photographs
48,8x44cm.
I don't trust myself when I'm sleeping II -  Till you recognise the choice, 2021
Intervention and gold leaf (22K) on color photographs
48,8x44cm.
I Don't Trust Myself When I'm Sleeping II - Stop Judging us!, 2021
Intervention and gold leaf (22K) on color photographs
48,8x44cm
I don't trust myself II - You were the mirror, 2021
Intervention and gold leaf (22K) on color photographs
48,8x44cm

In her most recent series “I don’t trust myself when I’m sleeping II”, in addition to scratching the images with the scalpel, Cabanas experiments with gold leaf, inspired by the Japanese restoration technique Kintsugi, about which she acquired practical knowledge in 2017. Kintsugi is a century-old method of ceramic repair, which consists of gluing the broken piece with Urushi natural lacquer and covering the cracks resulting from the gluing with gold. The aim, in making these cracks evident, is to give value to faults and physical changes in objects, caused by time or accidents. In a society obsessed with hiding its weaknesses and fixing a perfect image of itself, even if erroneous, the artist directs her focus to the opposite, summoning the difficult moments of her life as inspiration. As if, by applying gold to her torn drawings, she is softening her ghosts, accepting and even valuing their vulnerabilities and wounds.

The Mechanics of Absence II, 2017
Installation with synchronised 35mm slide projection, 7 projections, Copper e Tulle. Dimensions variable
The Mechanics of Absence II, 2017
Installation with synchronised 35mm slide projection, 7 projections, Copper e Tulle. Dimensions variable

The Mechanics of Absence II, 2017
Installation with synchronised 35mm slide projection, 7 projections, Copper e Tulle. Dimensions variable
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm

Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm

Eclipse, 2017-2018.
Lambda print, light box, metal, 30x45x14cm
What remains of what it was – Unknown Album, 2012
Intervention on inkjet print, 110x90cm
What remains of what it was – Unknown Album, 2012
Intervention on inkjet print, 110x110 cm
What remains of what it was – Unknown Album, 2012
Intervention on inkjet print, 110x110 cm
What remains of what it was – Unknown Album, 2012
Intervention on inkjet print, 110x110 cm
Palavra Arquivada - Ericeira, 2014
Laser cutting on inkjet print, variable sizes
Palavra Arquivada - Monsaraz, 2014
Laser cutting on inkjet print, variable sizes
Palavra Arquivada - Rosanna Motiv, 2014
Laser cutting on inkjet print, variable sizes
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