Need help?



Maria Máximo
Lisbon, Portugal
Lives and works in Lisbon. Currently attends the Painting Master in the Faculty of Fine Arts of the University of Lisbon. Maria was awarded with: (2021) " Alunos da fbaul na Ermida – prémio de pintura 2ª edição " curated by Ilídio Salteiro and Ricardo Escarduça; In the group exhibitions she highlights: (2021) "Sonhos de Guerra e Paz", at Museu Militar, Lisbon, PT, curated by João Reis; (2021) "Trauma Response", at Duplex, Lisbon, PT, curated by Judith Hofer; (2021) "Hammer Time", at Zaratan – Arte Contemporânea, Lisbon, PT, curated by Gemma Noris (2022) "Depois do Banquete", at Teatro Thalia, Lisbon, PT, curated by Joana Siquenique, João Rosa and José Taborda; (2022) "Caring is Sharing", at CabanaMad, Lisbon, PT, curated by Francisco Trêpa; (2023) "Spike to Spica", at Galeria Monumental, Lisbon, PT; (2023) "O jardim dos caminhos que se bifurcam" - Buraco, Lisbon, PT; (2023) "Marathon des écoles" - CN D - Centre national de la danse, Pantin, Île-de-France, FR; (2023) "Quem põe o som na boca do pisco?" - Fundação Dom Luís I (Centro Cultural de Cascais), Cascais, PT and (2023) "Alcazar" - Alfaia, Loulé, PT (curated by Egeu).
  My work is born of a vital compulsion for an emotional archeology, an urgent catharsis. I excavate fossils in my intimacy, hidden in the memories that forge me, and make me who I am. I confront that which I run from, and resist that which assaults me. I retreat into what shelters me and hide in what caresses me. I expose myself to a procedural chain of subjective actions. A struggle between efforts, joys, pains, refusals, settlements, embodied in a discharge of decisions, or choices, that, on an aesthetic level, cannot, and should not, be totally conscious, and that, in a somewhat unpredictable way, lead me to the work. I simply do. A spontaneous expulsion without a severe plan and threat of a too austere pre-construction. At the same time, I articulate the singularity of any, of every, instant with the preparation of something I sense I will discover, or (re)know. I want the work to exceed a retinal dimension. The image condescended by the work does not admit imitation, or the sign that points to a certain reality. Rather, it is my liberation from that reality, and a permanent search for its recreation, distinct and autonomous on my terms.