Portfolio by Ana O.

Ana O. portfolio photography works

Profile Summary

Professional Experience

Born in Porto in 1990, she graduated in Product Design at the School of Arts and Design (ESAD) in 2011, having done six months of exchange program at Escola Superior de Disseny (ESDI), in Barcelona. Always had great interest in all artistic areas, that’s the reason that led her to take the Professional Photography Course at the Portuguese Institute of Photography (IPF) in 2014. Now she’s in between several personal projects.

Jan.2015 - (present) 688 Apartments, Creation of a touristic project and its management.

Name: Maria Ana Grilo Ferreira de Oliveira Nationality: Portuguese

Education Sep.2012 - Jun.2014 Professional Photography Course at IPF, Portuguese Institute of Photography, Porto, Portugal Sep.2008 - Jun.2011 Product Design Bachelor at ESAD, School of Arts and Design, Porto, Portugal

Date of birth: 11-05-1990 Phone Number: 07438895676

Out.2015 - Photography for Vasco Freitas Hair Stylist, Capture and image editing in Portugal Fashion SS16 and respective preparation tests.

(+351) 915 075 793

Email: ana.grilo.oliveira@gmail.com Portfolio: http://cargocollective.com/anao LinkedIn: pt.linkedin.com/in/anagrilooliveira

Sep.2010 - Fev.2011 Erasmus Scholarship at ESDI, Escola Superior de Disseny, Barcelona, Spain Sep.2005 - Jun.2008 Garcia de Orta High School, Visual Arts studies, Porto, Portugal Sep.1995 - Jun.2000 Primary School at CLIP, Porto’s International School, Porto, Portugal

Exhibitions

Language: Portuguese, native English, fluent speaker Spanish, basic user

2015 - Participation in the Ciclo #7 of Cusq Gallery, Porto

Software: Adobe (Photoshop, Bridge, Illustrator, InDesign) Microsoft Office (Word, Power Point, Excel) Solid Works Mac OX system

2014 - Participation in the collective exhibition “Mimesis: no can do ... As esmagadoras (im)possibilidades do fotográfico” in Galeria Geraldes da Silva, Porto

Projects and Competitions 2015_ “Photocopy” 2014_ Participation in the Art Laguna Price 2014_ Participation in the Doritos Crash The Super Bowl Contest 2014_ “Why?”, IPF, Final Work 2014_ ”Imprint”, IPF, Project and Author Photography 2014_ “Paranormal”, IPF, Project and Author Photography 2014_ “Life – Death”, IPF, Project and Author Photography 2014_ “Yesterday’s Newspaper”, IPF, Project and Author Photography 2014_ “What defines me?”, IPF, Project and Author Photography 2014_ “Upwards”, IPF, Architecture Photography 2014_ “Blue”, IPF, Fashion Photography 2013_ “Ink”, IPF, Fashion Photography 2013_ “919355910”, IPF, Photojournalism 2013_ “Pout Fish”, IPF, Photojournalism 2013_ “Old People”, IPF, Photojournalism 2013_ “Line”, IPF, Photography 2013_ “Interaction”, IPF, Photography 2013_ “Restart”, IPF, Photography 2013_ ”Escalators”, IPF, Photography 2012_ “Capital Sins”, IPF, Digital Laboratory 2012_ “Barbie”, IPF, Black and With Laboratory 2011_ Participation in the 1ªedition of the Electrolux Design Lab PT’11 Contest 2011_ Participation in the Electrolux Design Lab’11 Global Competition Contest 2011_ “Ecotap”, ESAD, Project II 2010_ “Bathroom for kids”, ESDI Barcelona, Project II 2009_ “Cork”, ESAD, Project I 2008_ “Friend”, ESAD, Design Fundamentals 2008_ “Toilet”, ESAD, Imaging Laboratory

Contents Imprint 4 Life - Death 8 Why?

Ink

Interaction

919355910

Fiche Pout

Old People

Line

Barbie

The works here presented were placed under the same layout for this portfolio although this hasnâ&#x20AC;&#x2122;t been the way of there previous presentations.

Imprint Imprint is a trial. A demonstration of portraits that do not seek the individuality of people by their features or characteristics of their face, but through the shape of their whole, the human body. A study on the shape of the body and its image. Using the body as a “stamp” that marks the paper with his shape, my work results in two images placed side by side, being the first, the mark left by the body, and the second, a photograph of the body that created that mark. The first is the result of the crash and the second a photograph of itself. Two representations of the body, its image, which implies their presence and questions the “it was”, “I’ve been here,” implicit in Photography. Therefore I intend to question the photographic through the plastic. Roland Barthes defines these two concepts that I relate the following way: “What Photography reproduces to infinity only happens once: she repeats mechanically what could never be repeated existentially” like a stamp that in spite of having always the same shape, origin, will never reproduce a mark equal to the previous or the next, but at the same time, “rather than a substance, plastic is the very idea of its infinite transformation; is, as its common name suggests, the apparent ubiquity. “. Photography is a moment, like a mark, but it is still the representation of the origin of the mark, which in turn is also a moment, a time of time. Print is a work that results in the set of five images, each one assembled as a diptic printed on scenario paper, where the first image (150cm x 200cm) is the mark of the body made with black acrylic and the second is the photographic printing (150cm x 200cm) of the body that caused that mark on the same support.

Life - Death The theme for this exercise was to approach Life and Death. This work tries to represent this concepts and the space between them through photography. Starting with white, life, that through “human presence” becomes black, death. We are born, live and die. The idea that life’s replaced by death. Therefore, this work starts with a white paper and black ink that I’ve used to paint the paper until it got all black. I decided to paint footprints with the ink representing the journey of life until death. The entire process and its result was captured in a series of 100 photographs in black and white.

Why? Why? Why men? Why not women? Why men eating Calippos? Does it look like? Is It Different? Are they men? Are they women? Is it normal? It is abnormal? Why public? Why Private? Why Calippos? Why sex? Why sexist? Why feminists? Are they sexist? Are they feminists? It is sex? It is usual? It is special? Heterosexual? Homosexual? Near? Distant? Strange? Taboo? Why? The “WHY?” project aims to question people. As it is implied in its name, the purpose of this work is to get people to think. To think about the relationship that men have with their sex, to think about the sexism that exists since forever, sexuality and its importance to others and also to think of this free prostitution that exists in this prudish society of social networks. Connecting the resemblance that exists in various objects of everyday life with the male sexual organ, I chose one item, and photographed five men eating it. I photographed five men eating a Calippo, an ice cream of “Ola”’s brand. After analyzing the results I think that in the images I’ve captured, sexism is not explicit, on contrary. And that’s the whole idea of this study, namely to put people to think about the normality or abnormality of what they are seeing. if it was a woman in the same position, not only was there no awkwardness, but I also think that it’s possible to say that it would be a trivial image. Approching the subject with an image that forces people to ask themselves about the taboos that exist in society. Address the issue through a normal and naïve situation , as on how to eat an ice cream, but with a different attitude can prove quite aggressive. On the selection of the images the attitude that each model had during the photo shoot had great influence. By being given a specific object and from the intimacy of each one of them, they were asked to reverse the conventional roles and come out of their comfort zone. This resulted in quite different and contradictory positions. A sexualized society where sex is still taboo but different to every one. 10

Ink

Interaction Reactions and relationships: interaction with the sculptures of the Park with the human body. The sculptures are part of the collection of the Serralves Foundation. My main inspiration and influence for this work was the Lend Art movement. The way there´s an integration between nature and conceptual art. I think it’s very interesting the relationship between the works and their surroundings, especially when we´re talking about natural space. By this interaction it becomes inevitable, or even imposed, a relationship with the viewer, creating this way a relationship between art, space and the human body. The work established a human relationship with this sculptures that live in this natural space. By always having a special attention not to identify the woman in the pictures, the work does not turn into a self-portrait, but instead into a representation. This way the photos show Serralves’ sculptures not only on another point of view, but also on another way, through the emotions and reactions they suggest us.

919355910 This is the story of a man. A man that lives in a house he doesnâ&#x20AC;&#x2122;t own. A man who choose to occupy a house making it his home. A home that resembles very little of a home. A home without a proper bathroom or even a kitchen, but with a television. A man that calls home a place with nothing, but still with a specific identity. You can still see him pass by on his motorcycle or car. A man that in the middle of the chaos, organises his trash. This man lives this way, apparently, because he chose to.

Fish Pout In Matosinhosâ&#x20AC;&#x2122; fish pout the fish arrives on a daily bases. What is also a daily bases routine is the arrival of a specific group of people. The pier became the scenario of what was a small group of people that always went there, not to buy fish, but to avail the ones that fall in the ground. These people have grown significantly. This work aims to show not only the every day morning action of the pout, but also these people too.

Elderly People The theme for this work was Sports and Social Cohesion, so it tries to illustrate a group of old people that spend the day playing cards by the beach. This is their sport, this is the way they found to fulfil their lives, now that they have retired. They created a sport environment with their own rituals, where they come every day and if itÂ´s sunny take their shirt off and hang it on the hanger inlaid on the rocks. They sit on the benches by the wood table that they improvised on their own way. Even when the weather is not good they stay there because they created an awning to protect them from the wind and rain. No one really pays attention to their presence, they are always there as a part of the beach.

Line The main motivation on doing this work was the desire that I have to exercise in my photographic work a more plastic load. Be able to address the concept of photography versus painting but instead of distance them, combining them. So I decided to photograph parts of the naked human body and intervening on them in order to accentuate the shape of the body. I used black thread to make the intervention. The choice of this method is due to the plasticity that allows me to bring to the pictures without voiding the body and on the contrary, enhancing its forms. But I intend to use this method with the intention of painting. Addresses as Margarida Medeiros in The Painted Portrait and Photo Portrait. “The painting gives the picture a much dilated temporality. The texture of canvas and paints raise the tone and challenge the viewer because recreating mimetically, through the simple gesture of the hand supplied paint, something that “looks like the reality” (...). At this time dimension joins another aspect, the density, which seems to me to be a distinctive feature of the painting. The subject of the painting, paints, brushes, allows a job mimesis (...), but live view and near its texture is relatively thick and introduces the perception of support. (...) Therefore, with respect to the picture painted there’s the question of his loyalty, since he always part of a “scheme”. (...) This is a question which does not arise to the photographic portrait. Can be assumed that the picture was taken from a “bad” moment of uncharacteristic portrayed. But we all know that he “was well” as Barthes said in 1980 in Camera Clara. “. In my opinion, in this work the line reinforces and emphasizes the temporality and density of painting, to photography. And in the images, it’s implied a duality of interpretations, look what is not, thus bringing a sense of strangeness to the work. Focusing on this, my end results were pictures with this intervention, where we can see and feel the load exerted on them, the texture of the line as opposed to the paper. 32

Barbie For the execution of the photogram an object was decided to be used, a Barbie, aiming to represent the shape of the human body. A Barbie doll seems to be one of the most faithful objects resembling the human female body in proportion to the size of the paper I used. So the work combines several photogramâ&#x20AC;&#x2122;s where only some parts of the â&#x20AC;&#x153;bodyâ&#x20AC;? are shown. I also made compositions in order to have more than one representation on the same paper. I used different times of exposure to light in order to create shadows.

Ana O. portfolio 2015 photography works 40