Dissolusion*1: From a deep sleep my cries have arisen

The works presented here by JAS are designated by a name which (des)integrates them:
dissonances. This noun, which is mainly applied to sounds, is fit to establish a foreseen
dissonance in the core of each piece, forecasting it on the set which they belong; and
also instability on the core of the elected medium pictorial art. Actually, it is quite
evident that JAS mixes several techniques in his works. His paintings are filled with
sculptural crutches, graphs where collages and assemblages are used in a dance of
techniques and mannerisms. This instability relates the gamut of materials which the
artist can use; it is also about a sense of restlessness.
The dancing metaphor seems to be particularly operative. It is like certain instability, the
(dis)agreement of the techniques and media took control of the set, thus becoming
promiscuously linked to the undeniable integral unity of what is intended to be seen.
To show is the last performative act of the artist: by showing it not only does he execute
a finishing sentence; but by signing the painting he condemns it on an eternal sleep. The
brush, chisel and gouge are his execution weapons. In fact, his vigorous strokes seem
made by razor blades. By the end of a day, it is the artist who condemns his own
creative gesture to an end. To sign a painting is to kill it metaphysically speaking, as it
symbolises the end of the work of art as representation and experience of the real. And
in that way, it anticipates an anxiety, the imperfection of the work itself, and the artists
anguish for the need of an unbalanced totality.
Every work is like a fossil. It perpetuates itself symbolically mediating an end. That end
is not the end itself, as the end of the experience that enabled it and in which it
materialises is also a sample of the end of all things. In this morbid dance, the piece
exhibited is anatomical and is part of that spectral silence of things which silently
confess. It is like a sarcophagus, a coffin, just waiting for a cold chamber.
But the work also preserves the artists rest, as it rests in itself as the Creator did on the
7th day of the creation. Although it is a wicked rest as it is constantly being awakened
by the dreams inside the work, as dissonances created by screams born on the creators
private restlessness that result from the multiple techniques and materials used. This
way the work confesses the presence of the inner dissonance and anxiety so hostile to
the artists gesture, aggravated by the founding gesture of signing it at the end.
The transferring to a gallery space or a museum is a mourning ritual. It is this promotion
to be seen that deafens the dissonant polyphony of the inner screams, those of the work
and of its creator.

Daniel Jonas

1
Neologism created by the author from the words dissonance and delusion; Dissonhncias =
( dissonncia+sonho)
Joo Alexandrino Aka JAS
Biography

Born in Oporto in 1981. He has developed his work in several artistic fields and
practices such as installation, performance, video, painting, drawing and design of
sceneries. He was a founding member of Espao Incubadora (2002- 2007) in Vila Nova
de Gaia where he presented installations/exhibitions among other projects.
Member and collaborator of Instituto Antimatria since 2005 at Esapo Ilimitado- centre
of cultural diffusion- and Quarto Escuro a project room in Oporto.
He has developed several individual projects and has worked with several artists: the
key elements of his work are the simultaneous presence of video and drawing in real
time.
He exhibits individually and collectively since 2000.
He has produced several short films and experimental videos.

2015 Underwater, 250 / If I could chew the entire land, 13

2014 Murmurs de murs, 12 / Reading Thursdays 14 Years, 2 / Fly, video clip for the
Quiet Affair, 401
2012 Black Wings, 115 / Tabula Rasa work in progress 316 / Work in progress
with Manuela Pimentel, 159
2010 Silence, 12 / Without Place, 4 32
2008 Vaseline Box, 141 / Circular Eye 222 / Machine of making leaves, 423/
Teapot, 140
2007 Factory Worker, 150

www.joaoalexandrinoakajas.com