La mission de l'art n'est pas de copier la nature, mais de l'exprimer.
Honoré de Balzac
(Photographer since 1980, various exhibitions, posters and catalogues.
Initial work about urban and rural landscapes (i.e.., Anuário Português de Fotografia 1982 and 1983, portfolio "Alfama", 1987).
In 1988, the year of his first solo exhibition, he integrates the human component into his work ( the “Monsaraz” Portfolio) which coincides with the exploration of b&w.
In the late 80’s he explores a new area in his work, the poster and the theater, a result from the collaboration with artist José Gil (mime and puppeteer).
Throughout the nineties contrast ("Os ciganos", 1992) and rhythm (portfolios "Serra do Açor" and "Trás-os-Montes", both from 1996) are general characteristics of his works.
Faced with successive requests and some publications, António’s contact with photography remained relatively discreet until 2001, year of the Castelo Branco exhibition with works since 1986. The integration of the human figure in rural and urban landscapes became evident in this show.
Since then, António Guerra has more frequently shared works that invite us to contemplate our surroundings, a reality that very often goes unnoticed or even imperceptible.
The realism of his photography, perhaps nostalgic, is currently the main characteristic of his photography that, while direct and incisive, does not forget to further the construction of scenes, a dimension that has an impact on the reading of the moment, a catharsis of emotions invoked by contemplation, remembering, reflection and affections, as diverse as each observers identity.
This route to photography has greatly contributed for a greater showing of his work, a visibility that that has resulted in the internationalization of his work, with exhibitions and publications in Germany and Poland, and the representation of his work in various private (Portugal and Mozambique) and institutional collections.
It is because of all this that I recognize the photographer António Guerra when he considers that “only photography that translates creative idiosyncrasy and the affections of each Author shows a way that differentiates.” Adding that “while expression of art and creativity, photography cannot be limited to an automatic option. In an unreachable limit, such would allow an unlimited number of users, at a same place and time, to obtain the same result, not better, nor worse than others, but limited by the technical, emptied of soul and sense.”
Translated from a text by Carlos Alberto Gil Moreira (Architect),
b. Alcobaça (1964), where he lives.
solo exhibits: “Fotografias”, Bar Ben-Almanzor, Alcobaça (1988), Teatro Chaby Pinheiro, Nazaré, Instituto de Apoio à Juventude, Leiria and Casa da Cultura, Óbidos (1989), “Todas as escadas vão dar ao Bar”, Bar Xeque-Bar, Alcobaça (1992), “Retrospectiva”, Instituto Politécnico, Castelo Branco e Hotel D. Inês, Coimbra (2001), “Ruralidades”, Alcopázio-Bar, Alcobaça (2002), “Humanidades”, Alcopázio-Bar, Alcobaça (2004), “Clandestinidades”, Cine-Teatro, Alcobaça (2006) “Estados de Alma”, Café D. Abade/Cave (inauguração), Alcobaça (2010), “No Páís d’Alice”, Teatro José Lúcio da Silva, Leiria, and ”In verso da Vida”, ISLA, Leiria (2011).
group exhibits: Universidade de Évora (1987), Xeque-Bar, Alcobaça (1989), “Artistas Solidários - Centenário do Hospital de Alcobaça”, Alcobaça (1991), Estúdio 90 (opening), Alcobaça (1993), “Festival Marionetas na Cidade”, Cine-Teatro, Alcobaça (2000), Piscinas Municipais, Monfortinho (2001), Festival Europäisches Pulpentheater-Festival, Hamburger Rathauses, Hamburgo, Alemanha (2002), “50 Fotografias e um Atelier – 50 anos de actividade do Escultor José Aurélio", Armazém das Artes, Alcobaça (2008), “Posters of the years 2000 and 2001 - Poster Theatre Festival XXI century", Gallery Wozownia, Toruń, Poland (2008), “8+2=19”, Atelier 19 (opening), Alcobaça (2011), “Por Estes Lugares Adentro”, Leiria (2012, in progress), Museu m|i|mo e “Paisagem Estranha Entranha”, Tavira (2012).
Posters: Universidade de Évora (1989), Stage performances “Um mimo de mimo”, by José Gil and Jaime Leão (1989), “Mimo”, by José Gil (1994), and, “Entre-Acto”, by S.A. Marionetas (1997).
Catalogues: Retrospective exhibition of painter Luciano Santos (1994), published in the catalogue Europäisches Pulpentheater-Festival, Hamburger Rathauses, Hamburg, Germany.
Represented in various private and corporate collections (Portugal and Mozambique).