Portugal, 1940


For decades Jorge Martins has had as a recurrent question in his work in painting and drawing the relationships between space and light in a search marked by subtly and profoundly gestural challenges, that is, diversely expressive of the body in action.

More than identifiable iconographies, the forms he represents frequently refer to forces, movements or explicit and implicit tensions such as falling, levitating, opening or closing, touching, crossing, splitting, bending. Sometimes with immense delicacy or very decisively, Martins exercises the superior virtuosity of someone who knows how to weigh fullness and emptiness, velocities and arrhythmias of space, materialities. And, frequently, he questions poetics of the binomial tactility-illusion, when he turns paradoxical the reality of the smooth surface, frequently suggesting vortices, abysses and illusions, fictionalising that space.