To Manuel Caeiro the representation of space is made through forms that unfold spacial rhythms and modulations and on the understanding of drawing as a vehicle of experience, action and conceptualization. The effect of layer repetition and overlap incorporates a sculptural character through the representation of the surface. From his solo exhibitions we can distinguished the ones that took place at the Palácio Vila Flor, Guimarães and Carlos Carvalho Gallery (Backstage of Light, 2013; Welcome to my Loft, 2007). His most prominent group shows include: A Casa Ocupada (Casa da Cerca, 2014); La Colección (Fundación Barrié, A Coruña, 2010; 2011); Terceira Metade curated by Marta Mestre and Luiz Camillo Osório (MAM, Rio de Janeiro, 2011); Fiat Lux – Iluminación y Creación curated by Paulo Reis (MACUF, Coruña, 2010); Parangolé: Frag. desde los 90 en Brasil, Portugal y España (Patio Herreriano, Valladolid, 2008); Surrounding Matta-Clark, 2006; and Building Rooms (Carlos Carvalho, 2008). His works are included in many public collections such as Culturgest Collection, PLMJ Foundation Collection, and Manuel de Brito Collection.
"Manuel Caeiro is no different to many artists who try to construct their discourses in the Derridian manner, like cloths of footprints capable of flowing over the linearity of the writing, or, in this case, of the architecture. Each work-text-architecture refers to another, inter-crossing, blending and subverting hierarchies. Thus the context is valorised; as well as the marginal. That is why there is some sense in his flirting with photography in that sort of demolished architecture represented by some post-boxes that warn us of the path we will follow in a loft-exhibition where everything is painting. Everything obeys a split logic, one of those that do not reject what is contaminated but welcome it in order to culminate an expansive interest. The key will lie in decoding these passwords of personal identity, those signs of belonging. Then we will understand why he feels identity as a question of strategies, and not so much as essence, and why his house – which is our house – is no more than a (perhaps abstract) dream that in the final analysis results in a memory of the lived, a story that has gone:
We are speaking about the house as experienced time, as being in tune. Therefore I think that my text is expanding and at the same time being continuously folded, dominated by an image that functions as an insistent, repeated sequence, one that allows our slipping from the past to the present and from the present to the past." David Barro
"Like many contemporary painters, Manuel Caeiro questions painting starting from the repetition of forms. Each line insists on the achieving of an idea, and its multiplication, its sequence, generates the definitive rhythm. Manuel Caeiro works the modular detail as that which unleashes each new image, and he always does it starting from memory or recall of what is constructed, seeking a new order. Thus his strategy is that of unfolding or propagating a reality that is reconstructed and therefore fictitious, which is born out of the most traditional of mediums – painting – to the one that possesses the most historical charge and which at the same time to all appearances processes a weaker contemporary condition or at least one that is more questioned, with its mental state being a continuous reason for debate." David Barro