Chama, 2018
Chama, 2018, exhibition view at Atelier Museu Júlio Pomar, Lisbon
Chama, 2018, exhibition view with Glade and For JP
For JP (details), 2018, several fabrics, wood, v7 glue, rope, cord, stones, ceramic, latex, crab shell, mirror, cotton, nails, plastic, sand and acrylic paint,
300 × 300 × 200 cm
Threat (from the series Protection from apathy), 2018, wood, several fabrics, cord, nails, sand, cotton, latex, water, steel, wire and acrylic paint, 100 × 60 × 10 cm
Sea walker (from the series Protection from apathy), 2017, soap, wood, nails, several fabrics, latex, shells, wire,
v7 glue and acrylic paint, 180 × 40 × 15 cm
Black Magic (from the series Protection from apathy), 2017, clarim soap, blue pigment, aluminum, vinyl glue, cotton, acrylic paint, glass and coin,
7 × 28 × 28 cm
I give my best (from the series Protection from apathy), 2017, cotton, latex and sewing thread, 7,5 × 8 × 8 cm
Untitled, 2016, wood, acrylic paint, fabric, mirror and nails,
60 × 39 × 5 cm
Glade (detail), 2018, jersey fabric, basalt rock, industrial carpet, cotton rope and stainless steel, variable dimensions
Yokul (from Leonor) (detail), 2018, mortar, styrofoam, fiberglass, acrylic paint and graphite, 100 × 100 × 20 cm
Untitled MX, 2015, graphite and watercolour on cotton paper, 19 × 23,5 cm
Untitled, 2016, drawing: graphite and watercolour on cotton paper, 36,2 × 46 cm
Untitled, 2016, idem

Chama was a group show with works of Julio Pomar, Sara Bichão and Rita Ferreira at the
Atelier-Museu Júlio Pomar, curated by Sara Antónia Matos, 2018

“Sara Bichão not only constructed almost all of the pieces in the exhibition but also created a work that crosses the space from one end to another. Glade, from 2018, evokes the form of an enormous catapult, whose sling (in unbleached cloth) is held by the building’s guardrails on the upper floor, and stretched from there to the ground floor, where it is secured by two 300 kilogram basalt rocks. Installed from east to west, the piece also consists of a disc of concave steel, placed above the windows on the upper floor of the building, that captures and scatters the sunlight around it.
Mention must be made too of the work that the artist dedicated to Júlio Pomar: For JP, from 2018, a braided rope of unbleached material, knotted around objects from the beach: canes, burnt sticks, stones, and plastic objects. There is also a drawing (a small bird) which the most astute visitors will relate to Pomar’s drawings of seagulls (on tracing paper), displayed high up on the western wall of the museum.
Two things can be deduced from the insertion of elements and materials gathered on the beach in Sara Bichão’s work: first that in the construction of her works the artist took into consideration the dialogue she would establish with Júlio Pomar’s assemblages, and second that her work – like that of Júlio Pomar – needs time to be observed, discovered and experienced.
On this note, it seems to me that the works of these two artists are formed of and require different times and require of observation. Sara Bichão’s work appears to be made and to occur between layers, calling upon one to move closer and then further away, to dive in and out, like Júlio Pomar’s paintings, through which every stratum of meaning is revealed.”
Excerpt of the text by Sara Antónia Matos, 2018, for the catalog of the exhibition Chama.

© António Jorge Silva

Full text by Sara Antónia Matos, 2018, below:

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Sara Bichão’s working process binds with emotional channels: to heal, to purge, to perpetuate, to play. The works are sculptural with a chromatic atmosphere specific to its own, which at times, are activated by the artist through performative actions. The materials used are often collected/offered/stolen, or come from other recycled and organic resources. More recently, Bichão has also been exploring experimental writing.

Sara Bichão is currently developing a long-term collaboration with La S Grand Atelier – Art Brut et Contemporain, in Belgium.

She was an artist-in-residence at Residency Unlimited (New York, USA) and Finisterrae (Ouessant, FR) in 2022, and has attended other residencies over the past years including: Porta 33 (2020, Madeira, Portugal); Cité Internationale des Arts (2019, Paris, FR); Artistes en Résidence (2017, Clermont Ferrand, FR). She received scholarships from the French Institute (2019, 2022), the Calouste Gulbenkian Foundation (2014) and the Luso-American Foundation (2022).

A selection of her solo shows include: Before I Get Sick at MEEL, Press (2021, Lisbon); What is the thing, What is it at Galeria Filomena Soares (2020, Lisbon); Find me, I kill you at Calouste Gulbenkian Foundation (2018, Lisbon); (2017) Coastal at Barbara Davis Gallery (2017, Houston); My Sun Cries at Portuguese Foundation of Communications (2016, Lisbon); Somebody’s Address at Rooster Gallery (2014, New York).

Some of her past group shows include: Slow Gala at 68 Art Institute (2022, Copenhagen); Twin Islands at Passerelle Centre d’art contemporain (2022, France); (2022) Traverser la nuit: Works From the Antoine de Galbert Collection at Museum of Art, Architecture and Technology (2022, Portugal); Performance 0 at BoCA – Biennial of Contemporary Arts (2021, Portugal); Clorophilia at Porta33 (2021, Portugal); Storytelling at Musée d’art contemporain de Lyon (2019, France); Un pyjama pour deux at Passages Centre for Contemporary Art in Troyes (2019, France); CHAMA at Atelier-Museu Júlio Pomar (2018, Portugal); What I am at Museum of Art, Architecture and Technology (2017, Portugal); }{ { } at Diagrama (2015, Mexico); 2015) Eccentric Exercise II at Kulturni Centar Beograda (2015, Serbia); Soundless Harmonies at Rita Urso Gallery (2014, Italy); Extending The Line at Arevalo Gallery (2012, USA).

Bichão was selected for the FLAD Drawing Prize (2021), Anteciparte’09 (2009), Fidelidade Mundial – Jovens Pintores (2009), BPI – FBAUL (2008).

Her work is part of art collections such as: Antoine de Galbert Collection, France; CACE (State’s Collection of Contemporary Art); FLAD (Luso American Foundation); PLMJ Foundation; EDP – MAAT Foundation; Calouste Gulbenkian Foundation; Carmona e Costa Foundation; MidFirst Bank Collection, Arizona, USA.

Texts (selec.)
Short notes

Sara Bichão
Palácio dos Coruchéus
Rua Alberto Oliveira, Atelier 41,
1700-019 Lisboa, Portugal

Galeria Filomena Soares
Rua da Manutenção n.º 80 (Xabregas),
1900-321 Lisboa, Portugal
+351 962 373 956

Barbara Davis Gallery
4411 Montrose Boulevard, Suite D
Houston, 77006 Texas, USA
+1 713 520 9200