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1977/81 - Architecture & Urbanism 

Santa Ursula University, Rio de Janeiro, Brazil

1981/83 - Won two scholarships from the Brazilian National         Research Center, Brasil

1984/86 - Master in Business Administration 

Carlton School of Management of the University of Minnesota, USA

1997/2000 - Art History, Drawing and Painting 

The Atitude Art Center, Cascais, Portugal

2002 - Creative Writing and Jewelry

Casa da Cultura, Cascais, Portugal


2000 Torres Vedras - 750 Anos | Fábrica das Artes Gallery, Torres Vedras, Portugal;


2001 Memórias de Cascais | In-Tensão Group Exhibition | Espaço Memória dos Exílios, Estoril, Portugal


2009 Fabrica Features | Edificio Benneton Megastore, Lisbon, Portugal

2009 Land & S33 |Câmara dos Azuis Gallery, Lisbon, Portugal (Solo Exhibition)

2009 AMI Art Gallery, Oporto, Portugal


2010 Self- Portrait | Fábrica Features | Edifício Benneton Megastore, Lisbon, Portugal

2010 Estoril Open, Lisbon, Portugal

2010 Reality vs Fiction | Palácio das Artes | Fábrica de Talentos, Oporto, Portugal

2010 2nd edition Zero Poverty Urban Concept | Casino do Estoril, Estoril, Portugal


2011 7 Artists, 7 Countries | Museum of the Americas, Miami, USA (Best of Show award)

2011 Fugues | LM-Contemporary Art Gallery, Sintra, Portugal (Solo Exhibition)

2011 ARTinPARK Gallery | Lisbon, Portugal


Private collections in Portugal, Brazil and USA.


Fugues, a field of possibility of ...

Not yet two years have elapsed since her last solo exhibition, and Marta Lowndes has provided us with a new show, not without first having submitted her painting to the jury's criticism at the Museum of the Americas in Miami, where she was considered the best artist in the Project "7 Artists, 7 Countries".

When looking at this set of works and given the musical connotation that exists in the work, I can not resist approaching Ernst Jünger's Passo da Floresta, which Filipe Dias Cardoso divides into three stages: 1st stage - Here and Now; Approach to the problem. 2nd stage- The Desterro; Resist to be born again. 3rd stage - The New Order. And also the work of Marta Lowndes has 3 stages: the 1st corresponds to a series closer to the landscape / landscape; The 2nd is as in Bach, the exploration of the fugue in the form of variations on the theme, varying the tone and rhythm (chasing all the small parts of the theme scattered by the music) - the birth of a dilution of the form in the painting; And the third is the new order, the assumed escape / scape.

The last stage corresponds to a consolidation and formal evolution, which makes the painting not in a landscape, but in a field of possibility of. As such, Marta Lowndes's painting refers us to the idea of ​​landscape, summoning our memories of the history of painting, making us feel the presence of Monet, in his almost abstractionist phase of the water lilies, of the "escapes" of Anselm Kiefer, of abstract painting with successive layer overlaps of Gerhard Richter, or even of Polock's controlled chance.

Marta's painting implies an attitude of self-discovery and catharsis, achieved through the intensity of the action of doing and undoing, of concealment and unveiling of matter that is mirrored in the work as a true palimpsest, revealing the energy employed and the struggle waged Inside.

Isa Duarte Ribeiro

Lisbon, June 3 2011


Land & S33

The history of contemporary art would certainly have been different had Peggy Guggenheim (1898-1979) commissioned in 1943 the, forever famous, "Mural" to Jackson Pollock (1912-1956). Peggy's gallery and adviser, Howard Putzel (1898-1945), played a decisive role in the commission for having insisted, in the presence of Peggy's friend Marcel Duchamp (1887-1968), that a Work that marked Peggy's involvement in contemporary art was commissioned from the young artist, unknown to the public at the time, to fill the entrance to Peggy's New York apartment. It was Duchamp himself who, in support of Putzel, suggested that the work be carried out on canvas and not directly on the wall - so as to be easily removed and transported. The "Mural", dated 1943, has generous dimensions (247 x 605 cm) and marks an important transition in Pollock's work.

The interesting thing about Lowndes is the origin of the images - in Pollock, the images emerge from a "vision" (as he declared himself) of the memories of his experiences as he grew up in the American West: great prairies and their animals , In Lowndes of the memory of the tropical vegetation of Brazil, always present in its daily life, now decidedly European. Like Pollock, the image is pure abstraction where we intuit the references to our own memory of the land and the sea, which the historian Simon Schama (1945 -) designates by the landscape created by memory (See "Landscape and Memory", 1995): memories Of the idealized and syncretic landscape between the distant landscape of Lowndes' youth and adolescence in Brazil and the surrounding landscape, European and Atlantic.

Thus the blues and grays are decidedly European, and the green and brown have their origin in that Brazil mythified by the artist's imagination. It is true that Lowndes, as a young student of architecture in Rio de Janeiro, was exposed to the palette of Brazilian artists: if the influence of the geometrism of Vieira da Silva's seven years of residence (1908 - 1992) in Rio is visible in the work of Antonio Bandeira (1922 - 1967) and is inexistent in Lowndes, already the palette and the entanglement of the lines referring to the deep moorings of planted roots and trunks and foliage echo the work of Bandeira and the chromaticism of the abstraction works of Brazilian painters of origin Japanese as Tikashi Fukushima (1920 - 2001) or Kazuo Wakabayashi (1941-).

Closer is an inspiration that formally goes to Anselm Kiefer (1945-) Kiefer's expressionist poetry and expressionism of the 70s and 80s but depriving it of the ideological-historical load. Kiefer, pine or jaw, disciple of Joseph Beuys (1921-1986), or certainly influenced by him: both as Lowndes, concerned with nature, with memory, with inheritance and roots. Themes that Lowndes approaches in an intimate vision and of complicity with the spectator.

Lowndes in a previous series of paintings, with photographic figuration, and architectural themes (noble architecture degraded by the abandonment to which it was voted) had used the burnt support, also reminiscent of Kiefer's books.

The evolution of Lowndes' imagery is circumscribed in the poetic interpretation of the landscape; The human figure is absent as a figurative presence, but is an integral part of the image through text and vision.

It is interesting to contrast this view of the human in its relation to nature with, for example, Paula Rego (1935 -) that extends a mirror of the subterranean human soul. Rego's work presents us with precision and technical mastery the horror of dehumanisation. As the writer Eric-Emmanuel Schmidt (1960-) could say, Rego aggressively wields a mirror pointed at the viewer who shows us "the Adolf Hitler hidden in each of us" (La parte de l'autre, 2001), and causes us Repulsion and discomfort, but also fascination.

Lowndes is at odds with this "descent into hells" - everything in his work is growth, becoming, meditative introspection, hope and optimism. Even when the images refer to the earth, the sensation is of fullness, of sap that rises to the rays of the sun that are divined. The exhibition is seen and read as a "recit de voyage" (travel literature) as one reads Bruce Chatwin (1940 - 1989) or Fernão Mendes Pinto (1509 - 1593) - evocation of places and adventures that we all share and That expose the interiority of the artist.

The vision is clearly alter-modernist (after the modern post, after the contemporary post, after the "zeitgeist" and after the post everything) - deeply introspective but incorporating another evocative poetic dimension through the participation of a group of writers and their texts . These texts of others, other than the artist, observers of the paintings, like the visitor of the exhibition, help and incite to decipher the image through the provocation contained in the writing. But the texts are not commentaries or legends of the paintings - they present another dimension of reading the work of Marta Lowndes.

The very title of the exhibition, in its ambiguity, reveals and hides the layers of meaning of painting: for "land" in English is land but it is also the verb "to land" but with a wider meaning, for "to land" can be Made in the passage of the sea or the air to the earth (and not only in the air-ground sense that the Portuguese word assumed.) And who did not come across "s33" when he wanted to write on the cell phone the word "see" English? And who was not mistaken and wrote "sea" (sea) in a text where he wanted to write "see"? Transliteration undetectable by the computer's automatic corrector.

The possibility of multiple readings extends to the very materiality of the works: what is a figure and what is background? What is limit or beginning? In many pictures the viewer intuits a space beyond the visible. The color and the line work as content and continent but the materiality of the technique, almost bas-relief incorporating collages, disarticulates this traditional relation between color and trace, inverting and deconstructing it. In addition to the complexity of the various levels of reading and the combination of panels in diptychs and triptychs that transform the work giving it the fundamental universal dimension of a work that the collector wants to accompany it permanently.

If I started this text evoking Pollock was because in Lowndes' career the next step could be the commission by enlightened patron of a large panel in which the artist can expand the spaces and the imagery that virtuously conveys in this exhibition.

Arthur Lucena
Estoril, September 22 2009

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