Gabriela Albergaria / Works

Gabriela Albergaria, The Space Between #2, 2021. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 201 x 150 cm. Unique Gabriela Albergaria, The Space Between #2, 2021. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 201 x 150 cm. Unique
Gabriela Albergaria, Armature for survival (Kew Gardens), 2022. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 60 x 60 cm; 56,5 x 90 cm; 56,5 x 90 cm. Unique Gabriela Albergaria, Armature for survival (Kew Gardens), 2022. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 60 x 60 cm; 56,5 x 90 cm; 56,5 x 90 cm. Unique
Gabriela Albergaria, Soquence 05-50-26, 2019/2022. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 80 x 100 cm. Unique Gabriela Albergaria, Soquence 05-50-26, 2019/2022. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 80 x 100 cm. Unique
Gabriela Albergaria, Soquence 759, 2019/20. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 82 x 100 cm. Unique Gabriela Albergaria, Soquence 759, 2019/20. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 82 x 100 cm. Unique
Gabriela Albergaria. Exhibition view: Nature Abhors a Straight Line. Curated by Delfim Sardo. Museu Municipal de Tavira, Portugal. Gabriela Albergaria. Exhibition view: Nature Abhors a Straight Line. Curated by Delfim Sardo. Museu Municipal de Tavira, Portugal.
Gabriela Albergaria, Landscape in Repair #17, 2021. Color pencil (Polychromos Faber- Castell) on paper ( Heritage Woodfree Bookwhite 315gsm). 137 x 111 cm. Unique Gabriela Albergaria, Landscape in Repair #17, 2021. Color pencil (Polychromos Faber- Castell) on paper ( Heritage Woodfree Bookwhite 315gsm). 137 x 111 cm. Unique
Exhibition view: Tout Ce Que Je Veux. Artistes Portugaises de 1900 à 2020. Centre de Création Contemporaine Olivier Debré, Tours, 2022 Exhibition view: Tout Ce Que Je Veux. Artistes Portugaises de 1900 à 2020. Centre de Création Contemporaine Olivier Debré, Tours, 2022
Gabriela Albergaria, Roodebeek Park, 2021. Ink jet print on rag, colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 72 x 192 cm. Unique Gabriela Albergaria, Roodebeek Park, 2021. Ink jet print on rag, colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 72 x 192 cm. Unique
Gabriela Albergaria, The Space Between #2, 2021. Ink jet print on rag, colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm).  201 x 150 cm. Unique Gabriela Albergaria, The Space Between #2, 2021. Ink jet print on rag, colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm).  201 x 150 cm. Unique
Gabriela Albergaria, What is the Color of Green #1, 2021. Colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 126 x 114,5 cm. Unique Gabriela Albergaria, What is the Color of Green #1, 2021. Colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 126 x 114,5 cm. Unique
Gabriela Albergaria, What is the Color of Green #3, 2021. Colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 103 x 42 cm. Unique Gabriela Albergaria, What is the Color of Green #3, 2021. Colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 103 x 42 cm. Unique
Gabriela Albergaria, Soquence 04-41-24, 2019/2021. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315gsm). 100 x 100 cm Gabriela Albergaria, Soquence 04-41-24, 2019/2021. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315gsm). 100 x 100 cm
Gabriela Albergaria, Root, 2015/2019. Bronze with brown patinated finish. 198 x 45 cm Gabriela Albergaria, Root, 2015/2019. Bronze with brown patinated finish. 198 x 45 cm
Gabriela Albergaria, Landscape in Repair #7, 2019-2020. Drawing on paper ( Heritage Woodfree Bookwhite 315gsm) Gabriela Albergaria, Landscape in Repair #7, 2019-2020. Drawing on paper ( Heritage Woodfree Bookwhite 315gsm)
Exhibition view: Detanico Lain + Gabriela Albergaria + Nuno da Luz. 10-16 September 2020. Exhibition view: Detanico Lain + Gabriela Albergaria + Nuno da Luz. 10-16 September 2020.
Gabriela Albergaria, Color chart, Soquence, 2019/2021. Colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 164 x 58 cm Gabriela Albergaria, Color chart, Soquence, 2019/2021. Colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 164 x 58 cm
Gabriela Albergaria, The Space Between #2, 2021. Inkjet print on rag, colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 201 x 150 cm Gabriela Albergaria, The Space Between #2, 2021. Inkjet print on rag, colour pencil on paper ( Heritage Woodfree Bookwhite 315gsm). 201 x 150 cm
Gabriela Albergaria, Landscape in Repair #12, 2021. Color pencil and acrylic on paper (Heritage Woodfree Bookwhite 315gsm). 84 x 64 x 9 cm Gabriela Albergaria, Landscape in Repair #12, 2021. Color pencil and acrylic on paper (Heritage Woodfree Bookwhite 315gsm). 84 x 64 x 9 cm
Exhibition view: Gabriela Albergaria, Nature Abhors a Straight Line, curated by Delfim Sardo, Culturgest, Lisbon, 2020. Photo: Jorge Silva. Courtesy: Culturgest Exhibition view: Gabriela Albergaria, Nature Abhors a Straight Line, curated by Delfim Sardo, Culturgest, Lisbon, 2020. Photo: Jorge Silva. Courtesy: Culturgest
Exhibition view: Gabriela Albergaria, Nature Abhors a Straight Line, curated by Delfim Sardo, Culturgest, Lisbon, 2020. Photo: Jorge Silva. Courtesy: Culturgest Exhibition view: Gabriela Albergaria, Nature Abhors a Straight Line, curated by Delfim Sardo, Culturgest, Lisbon, 2020. Photo: Jorge Silva. Courtesy: Culturgest
Exhibition view: Gabriela Albergaria, Nature Abhors a Straight Line, curated by Delfim Sardo, Culturgest, Lisbon, 2020. Photo: Jorge Silva. Courtesy: Culturgest Exhibition view: Gabriela Albergaria, Nature Abhors a Straight Line, curated by Delfim Sardo, Culturgest, Lisbon, 2020. Photo: Jorge Silva. Courtesy: Culturgest
Gabriela Albergaria, Landscape in Repair #1, 2019. Colour pencil on paper (John Purcel Bookwhite 315 gsm). 303 x 206 cm Gabriela Albergaria, Landscape in Repair #1, 2019. Colour pencil on paper (John Purcel Bookwhite 315 gsm). 303 x 206 cm
Gabriela Albergaria, Repair / recover, 2010/2020. Wood sticks, sulfur free Plastiline. 200 x 100 cm Gabriela Albergaria, Repair / recover, 2010/2020. Wood sticks, sulfur free Plastiline. 200 x 100 cm
Gabriela Albergaria, 1/10 de terra cultivável necessária para preencher o espaço da galeria, 2019. Farming soil corresponding to one tenth of the surface of the gallery (3m3, Galeria Vera Cortês), limestone powder, limestone. 200 x 400 x 25 cm Gabriela Albergaria, 1/10 de terra cultivável necessária para preencher o espaço da galeria, 2019. Farming soil corresponding to one tenth of the surface of the gallery (3m3, Galeria Vera Cortês), limestone powder, limestone. 200 x 400 x 25 cm
Exhibition view: “…an adventure in which humans are only one kind of participant…”, Gabriela Albergaria, Galeria Vera Cortês, 2019 Exhibition view: “…an adventure in which humans are only one kind of participant…”, Gabriela Albergaria, Galeria Vera Cortês, 2019
Gabriela Albergaria, As quatro estações, 2014. Colour pencil on paper (Stonehenge), wooden pin. 46 x 35,5 cm (each) Gabriela Albergaria, As quatro estações, 2014. Colour pencil on paper (Stonehenge), wooden pin. 46 x 35,5 cm (each)

Zoom 1 / 27 Gabriela Albergaria, The Space Between #2, 2021. Inkjet print on rag, colour pencil on paper (Heritage Woodfree Bookwhite 315 gsm). 201 x 150 cm. Unique

Exhibitions

Bio

Albergaria’s work involves one territory: Nature. A nature manipulated, planted, transported, set in hierarchy, catalogued, studied, felt and recalled through the ongoing exploration of gardens in photography, drawing and sculpture. The artist views gardens as elaborated constructs, representational systems and descriptive mechanisms that epitomize a set of fictional beliefs that are employed to represent the natural world. Gardens are also environments dedicated to leisure and study, cultural and social processes that produce a historical understanding of what is knowledge and what is pleasure.

More generally, the images of gardens and plant species employed by the artist are used as devices to reveal processes of cultural change through which visions of nature are produced. Mediated by representation systems they generate different versions of what we see as landscape—itself a complex system of material structures and visual hierarchies, cultural constructs that define the framing of our visual field.

A selection of her solo shows includes Inanimate Object, or a complete cycle of the soil, Sheffield Park and Garden National Trust (Sheffield, 2018), Endless infinity, Museu Nacional Grão Vasco (Viseu, 2017), pinch pinch pinch, PORTA 14 Calçada do Correio Velho (Lisbon, 2017), Ah, Finalmente, Natureza, Fórum Eugénio de Almeida (Évora, 2015); Terra/Território, Consulado Geral de Portugal em São Paulo (2015); Two Trees in Balance, Socrates Sculpture Park (New York, 2015); Time scales, Vera Cortês Art Agency (Lisbon, 2014); O Balanço da Árvore Exagera a Tempestade, Galeria Vermelho (São Paulo, 2014); No hay tal cosa como la naturaleza, Hacienda La Trinidad Parque Cultural (Caracas, 2013); Invertir la posición, Galeria Wu (Lima, 2012); Térmico, Pavilhão Branco do Museu da Cidade (Lisbon, 2010); ABRACADÁRVORE, Museu de Arte Moderna da Bahía (São Salvador da Bahía, 2008).

O trabalho de Gabriela Albergaria envolve um território: a natureza. Uma natureza manipulada, plantada, transportada, estabelecida em hierarquia, catalogada, estudada, sentida e renomeada através da exploração contínua de jardins em fotografia, desenho e escultura. A artista percebe os jardins como construções elaboradas, sistemas de representação e mecanismos descritivos que sintetizam um conjunto de crenças fictícias que são usadas para representar o mundo natural. Os jardins são também ambientes dedicados aos processos de lazer e estudo, culturais e sociais que produzem uma compreensão histórica do que é oconhecimento e o prazer.

Mais geralmente, as imagens de jardins e espécies de plantas empregadas pela artista são usadas como dispositivos para revelar processos de mudança cultural através dos quais se produzem visões da natureza. Mediados por sistemas de representação, eles criam diferentes versões do que percebemos como uma paisagem – um sistema complexo de estruturas materiais e hierarquias visuais, construções culturais que definem o enquadramento do nosso campo visual.

Uma seleção de exposições individuais inclui Inanimate Object, or a complete cycle of the soil, Sheffield Park and Garden National Trust (Sheffield, 2018), Endless infinity, Museu Nacional Grão Vasco (Viseu, 2017), pinch pinch pinch, PORTA 14 Calçada do Correio Velho (Lisboa, 2017), Ah, Finalmente, Natureza, Fórum Eugénio de Almeida (Évora, 2015); Terra / Território, Consulado Geral de Portugal em São Paulo (2015); Two Trees in Balance, Socrates Sculpture Park (Nova Iorque, 2015); Escalas de tempo, Vera Cortês Art Agency (Lisboa, 2014); O Balanço da Árvore Exagera a Tempestade, Galeria Vermelho (São Paulo, 2014); Não há coisa como a natureza, Hacienda La Trinidad Parque Cultural (Caracas, 2013); Invertir a posição, Galeria Wu (Lima, 2012); Térmico, Pavilhão Branco do Museu da Cidade (Lisboa, 2010); ABRACADÁRVORE, Museu de Arte Moderna da Bahía (São Salvador da Bahía, 2008).

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