intercasa

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intercasa

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Curriculum
Individual Exhibitions
 “Raw Material, Wood Transformed”, José Luís Madeiras, Lda. Paços de Ferreira-2008
 Caixanova Foundation, Caixanova Social Center, Vigo, Spain-2007
 “Wood & Metaphors”, Camões Institute, Casa Arines, Vigo, Spain-2006
 Municipal Gallery of Fitares, Sintra-2004
 Municipal Gallery of Montijo-2004
 “Figures Revisited”, Amadora Contemporary Arts Centre-2003
 H.N Gallery, Caminha-2003
 “Skin as Limit”, Ygrego Gallery, Lisbon-2002
 “The Other Side of Things”, Municipal Museum of Paços de Ferreira, Paços de Ferreira-2001
 “The Other Side of Things”, Borough of Seroa, Paços de Ferreira-2001
 “Sublimation of Material-Interpretations”-Project Gallery, Vila Nova de Cerveira-2000
Group Exhibitions (Selection)
 Export Home-Furniture, Lighting and Decoration, António Loureiro Mendes, Exponor,
Oporto-2011
Oporto-2010
 Ideas & Passion, Habitat Fair Valência, António Loureiro Mendes, Valência-2009
 Exhibition Antiques and Painting, Ana Gisela Cerqueira, FIL Convention Center, Junqueira2009
 “Recycling with Art”, Rio Tinto Youth Center, Gondomar-2009
 Export Home-Furniture, Lighting and Decoration, António Loureiro Mendes Exponor,
Oporto-2009
 Exhibition Antiques and Painting, Ana Gisela Cerqueira, Oporto - 2009
 Exhibition of Painting, Seroa Cultural Center, Paços de Ferreira - 2009
 Exhibition of Painting and Sculpture, ARTSLAB-Art Studio, Lions' Entrepreneurial Center,
Leça do Balio, Matosinhos - 2008
 1st Biennial International Exhibition of Plastic Arts, IX Vespeira Prize, City of Montijo,
Montijo-2008
 Painting exhibition FOZARTE, in the Hotel Ipanema Park Art Gallery, Oporto-2008
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 30+6 Annual Spring Exhibition Awards, Casino Estoril Art Gallery, Cascais-2008
 Madrid International Furniture Fair, Juan Carlos I Fairgrounds, António Loureiro Mendes,
Madrid-2008
Oporto-2008
 Fair National of Antiques and Objets d'Art, Ana Gisela Cerqueira, Vandoma Antiques, CACE
Cultural (Center for the Creation of Cultural Enterprises) of Oporto, Oporto-2007
 Exhibition of Painting “Plaza Art”, Ferrara Plaza Shopping Center, Paços de Ferreira-2007
 “Urban Landscape Today” / A.N.A.P., Gallery of the Former City Hall, Viana do Castelo-2007
Madrid-2007
 Social Welfare Department for the Borough of Sobrosa, Paredes-2007
 IN HOUSE-Furniture, Lighting and Decoration, Exponor, Oporto-2007
Oporto-2007
 Exhibition of Antiques and Painting, Ana Gisela Cerqueira-Vandoma Antiques, Lisbon
Convention Center, Lisbon-2007
 Lagariça House, Castelo Novo-2006/07
 XXII National Fair of Antiques, Ana Gisela Cerqueira- Vandoma Antiques, Oporto Customs
Building, Oporto-2006
 “Retrospective 1999-2006”, Municipal Museum of Paços de Ferreira, Paços de Ferreira-2006
 Annual Exhibition of Furniture and Decoration, “Móvel Decor”, Duarte da Rocha
Decorating, Aveiro-2006
 INTERCASA-Annual International Exhibition of Furniture, Decoration and Lighting, Casa
Activa, FIL, Park of the Nations, Lisbon-2006
 “Antiques and Collecting in the Convent”, Ana Gisela Cerqueira-Vandoma Antiques,
Convent of Beato, Lisbon-2006
 Vandoma Antiqúes, Ana Gisela Cerqueira, Clube Thomarense, Tomar-2006
 2nd Exhibition of Plastic Arts-“Art on the Plain”, Montemor-o-Novo-2006
Oporto-2006
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Madrid-2006
 FILDA-International Fair of Luanda, Nucha Group, Luanda, Angola-2005
 9th Biennial Edition of Plastic Arts of Montijo, Vespeira Prize, Montijo-2005
 Exhibition of Art: Artists from the Artur Bual Artistic and Cultural Circle, Amadora-2005
 “Carvalhosa Shows", Plastic Arts, Carvalhosa Parish Hall, Paços de Ferreira-2005
 Painting exhibition in the Centre of Art, Design and Interior Decoration, Algarve-2005
Oporto-2005
Madrid-2005
 Painting exhibition in the Centre of Art, Design and Interior Decoration, Lordelo-2005
 Painting exhibition in the Artur Bual Gallery, Amadora-2005
 Painting Prize of Montijo, Montijo-2005
 Painting and Sculpture exhibition of Artists Selected by the Municipalities of the Valley
of the Sousa, Prof. Vieira Dinis Public Library, Paços de Ferreira-2004
 Painting and Sculpture exhibition of Artists Selected by the Municipalities of the Valleyof
the Sousa, Profidelis, Exhibition Pavillion of Penafiel-2004
 Painting and Sculpture exhibition of Artists Selected by the Municipalities of the Valley
of the Sousa, Art Gallery, Lousada-2004
 3rd Exhibition of Plastic Arts from the Municipal Collections, Artur Bual Municipal
Gallery, Amadora-2004
Oporto-2004
 Export Home-Furniture, Lighting and Decoration, “INTARSI”, Exponor, Oporto-2004
 D. Fernando II Prize for Painting and Sculpture, Casal de S. Domingos Cultural Hall, Sintra2004
 "In" Art Gallery, Arte Estoril, Cascais-2004
 Artur Bual Gallery, Arte Estoril, Cascais-2004
 Arts Hand in Hand, Painting and Sculpture, Hall of Culture, Guarda-2004
 D. Fernando II Painting and Sculpture Prize,Casal de S. Domingos Cultural Hall, Sintra-2003
 Árvore Gallery, Associates of the Árvore Cooperative, Oporto-2003
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 INTERCASA-Annual International Exhibition of Furniture, Decoration and Lighting, MG
Interiors, FIL, Park of the Nations, Lisbon-2003
 Painting Prize, XV Annual Spring Exhibition of the Estoril Casino Art Gallery, Cascais2003
 “Art Encounters”, Paredes Cultural Center, Paredes-2003
 3rd Biennial International Exhibition of Youth Art of Vila Verde, Vila Verde-2003
Oporto-2003
 7th Young Painters Fidelity Prize, Abrantes Municipal Gallery, Abrantes-2003
 Rui Alberto Gallery, Vila Real-2002
 “Contributions”, Municipal Museum of Paços de Ferreira, Paços de Ferreira-2002
 Póvoa de Varzim Casino Art Gallery, Póvoa de Varzim-2002
 15th Annual Spring Exhibition of the Estoril Casino Art Gallery, Cascais-2002
Oporto - 2002
 D. Fernando II Prize, Sintra-2002
 Rui Alberto Gallery, Vila Real-2002
 19th Exhibition of the Associates of the Árvore Cooperative, Ferreira Borges Market,
Oporto-2002
 7th Young Painters Fidelity Prize-Culturgest, C.G.D Headquarters, Lisbon-2002
 2nd Annual Exhibition of Plastic Arts of Angoulême, France-2002
 Rotary International of Barcelona Inter-district Travelling Exhibition, Viana do Castelo,
Santarém and Braga-2002
 Euroarte / Oporto 2001, Real Companhia Velha, Gaia-2001
 4th National Painting Prize for Young Artists, Templars' Hotel, Tomar-2001
 National Painting Prize, António Joaquim, Gaia-2001
 11th Biennial International Exhibition of Art, Vila Nova de Cerveira-2001
 D. Fernando II Prize, Sintra-2001
 Júlio Resende Painting Prize, Gondomar-2001
Oporto - 2001
 14th Annual Painting Exhibition of the Estoril Casino Art Gallery, Cascais-2001
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 Annual Exhibition of Plastic Arts of Angoulême, France-2001
 6th Young Painters Fidelity Prize, Baltazar Dias Municipal Theatre, Funchal-2001
 Open Culture Oporto 2001, Palace of Vinho Verde (young wine), Oporto-2001
 6th Young Painters Fidelity Prize, Youth Foundation, Hall of Flowers, Oporto-2001
 INTERCASA-Annual International Exhibition of Furniture, Decoration and Lighting,
António Loureiro Mendes, FIL, Park of the Nations, Lisboa-2001
 “Share Art”, Rui Alberto Art Gallery, Vila Real-2000
Oporto-2000
 “In that Cerveira” Project Gallery, Cerveira-2000
 3rd Annual Autumn Painting Exhibition,Royal Galician Academy of Fine Art,La Coruña-2000
 6th Young Painters Fidelity Prize, Culturgest, C.G.D. Building, Lisbon-2000
 1st Biennial Painting Exhibition of Art Penafiel, Penafiel-2000
 5th A.N.A.P. Exhibition, Museum of Aveiro, Aveiro-2000
 Baviera Prize, Serralves Foundation, Oporto-2000
 Árvore Cooperative (Associates' Collective), in the Ferreira Borges Market, Oporto-2000
 Youth Foundation, Oporto Hall of Flowers / A.N.A.P., Oporto-2000
António Loureiro Mendes, FIL, Park of the Nations, Lisbon-2000
 “60 Minutes for the Next Thousand Years” Municipal Reservoir/ A.N.A.P., Lisbon-2000
 Fantasporto / A.N.A.P., Póvoa de Varzim-2000
 INTERHOME-Furniture and Decoration, “INTARSI”, FIL, Park of the Nations, Lisbon-2000
 Artists for Timor / A.N.A.P., Póvoa de Varzim-2000
António Loureiro Mendes, FIL, Park of the Nations, Lisbon-1999
 Artists for Timor / A.N.A.P., Batalha-1999
 Collective of Prize-winners of the 10ª Biennial Exhibition of Cerveira, Project Gallery,
Cerveira-1999
 6th Biennial Exhibition of Montijo, Vespeira Prize, Montijo-1999
 10th Biennial Exhibition of Vila Nova de Cerveira, Vila Nova de Cerveira-1999
 Damarcela Art Gallery, Paços de Ferreira-1999
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 Calouste Gulbenkian Cultural Centre, Paris-1999
 Arpad Szenes Foundation-Vieira da Silva, Lisbon-1999
 INTERHOME-Furniture and Decoration, António Loureiro Mendes, FIL, Park of the Nations,
Lisbon-1999
 Oporto-1999
 5th Young Painters Fidelity Prize, Albufeira Cultural Centre-1999
 5th Young Painters Fidelity Prize, Youth Foundation, Hall of Flowers, Oporto-1999
 5th Young Painters Fidelity Prize, Culturgest Building of the C.G.D., Lisbon-1998
 4th Edinfor Sculpture Prize, Estoril Casino, Cascais-1998
Oporto-1998
 INTERCASA-Annual International Exhibition of Furniture, Decoration and Illumination,
António Loureiro Mendes, FIL, Lisbon-1998
 “Friends of the Palette”, Social and Cultural Centre of Ermesinde, Ermesinde-1997
 4th Almada Negreiros Painting Prize, Mapfre Life Foundation (Palace of the Pestanas),
Oporto-1997
António Loureiro Mendes, FIL, Lisbon-1997
 3rd Edinfor Sculpture Prize, Estoril Casino, Cascais-1997
 2nd Edinfor Sculpture Prize, Estoril Casino, Cascais-1996
 INTERCASA – International Exhibition of Furniture Hall, Decoration and Lighting, António
Loureiro Mendes, FIL, Lisbon-1996
 "Painting & Drawing", Tribuna Pacense Gallery, Paços de Ferreira-1995/96
News or Interviews
 VIP; FLASH; LUX; TVI; RTP1; Euronews; Público, JN; Visão; Semanário, Primeiro de
 Janeiro; Diário Económico; Diário do Minho; Correio do Minho; Visão 7; Diário de
Notícias;
 Casa e Jardim; Jornal O Imediato; Tribuna Pacense; Correio da Manhã; O Comércio do
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 Porto; Gazeta de Paços de Ferreira; Magazine i, (Jornal Imediato supplement), among
others…
Publications
 D’Art Guide 2009, Guimarães Publishers Artes & Leilões-2009
 Magazine Capital do Móvel, “Social Responsibility”, Paços de Ferreira-2006
 Magazine “Friendship League of Santo Tirso Hospital”-2004
 Painting Yearbook Portugal-Brazil-Universidade Editora (University Publishers)-2003
Public Collections
 Camões Institute, Casa Arines, Vigo, Spain-2006
 Magazine Tribuna Pacense, Paços de Ferreira-2006
 ASTA-Socio-Therapeutic Association of Almeida, Guarda-2004
 Sintra City Council-2004
 Montijo City Council-2004
 Amadora City Council, Artur Bual Gallery, Amadora-2003
 Portuguese Agency for Investment-A.P.I.
 Portuguese Rotary Foundation
 National Association of Young Businessmen-ANJE
 Project Gallery-Vila Nova de Cerveira
 City Council of Vila Nova de Cerveira
Private Collections
 Portugal; Angola; Russia; Germany; Brazil; Canada; Spain; France; England; Italy;
Japan; New York, USA; Columbia
Distinctions and Prizes
 Honourable Mention, D.Fernando II Sculpture Prize, Sintra-2004
 1st Prize, D.Fernando II Painting Prize, Sintra-2003
 Honourable Mention, 15th Annual Spring Show of the Estoril Casino Art Gallery, Cascais2002
 Honourable Mention, D. Fernando II Painting Prize, Sintra-2002
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 1st Prize, Rotary International Prize-2001
 Medal of Honour, D. Fernando II Prize, Sintra-2001
 Honourable Mention, XIV Annual Spring Show of the Estoril Casino Art Gallery, Cascais2001
 Special Honourable Mention, “Open Culture Oporto 2001”-2001
 3rd Prize in the 1st Biennial Painting Youth Art Show of Penafiel-2000
 Baviera Aquisition Prize-10th Biennial Show of Vila Nova de Cerveira, Vila Nova de
Cerveira-1999
 Arpad Szenes Grant-Vieira da Silva-1999 (Selected)
 Honourable Mention, in the 5th Young Painters Fidelity Prize-1998
 4th Almada Negreiros Painting Prize, Palace of the Pestanas, Mapfre Life-1997 (Selected)
Bibliography
 “i” Magazine, (Jornal Imediato supplement), July, pp. 16-18, 2009
 VIP Magazine, Issue Nº 428, p. 45-2005
 VIP Magazine, Issue Nº 285, pp. 57&58-2003
 VIP Magazine, Issue Nº 318, p. 32-2003
 FLASH Magazine, Issue Nº 20, p. 88-2003
 OLÁ Weekly, Issue Nº 1039, p.15-2003
 VISÃO Magazine, VISÃO 7, Issue Nº 372, p. 23-2000
 LUX Magazine, Issue Nº 8, p.114-2000
Criticism
 Painter Jaime Silva, Caxias February-2004
 Dr. Nuno Lima de Carvalho, Director, Estoril Casino Art Gallery, February-2002
 Edgardo Xavier, Member, A.I.C.A, (Association of Art Critics), Estoril-2001
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 Master Carlos Lança, (President, A.N.A.P-National Association of Plastic Artists), Oporto,
April-2000
 Prof. Henrique Silva (President, Project N.D.C), Vila Nova de Cerveira, April-2000
 Jean Michel Correia, Pedagogical Director of the Carousel Workshops, Musée des Arts
Décoratifs (Museum of Decorative Arts), Palace of the Louvre, Paris, 7th June-1999
Critical
 Caxias, 10.02.04, Painter Jaime Silva
It is understandable that what we call “World” is an open-ended question. Permanently. I mean
that we live the circumstances we call “History” and within this context we find doubts and ask
questions that will define us as beings of one period and not of any other. It should therefore be
understood that cultural history, and in this case art history, is subject to equivocation and regular
attempts at paradigmatic definition. Thus developed in the West, the so-called, and far too long
accepted, perspective vision of space, in which bodies and things are mathematically graded on a
two-dimensional surface, similar to, or pretending to be, a “natural” and naturalizing vision. And
given that the demands of time are not compatible with a priori reasoning, however inspiring, past
“revolutionary” periods, including those post-impressionists, cézanneans and cubists, have
presented us with difficult artistic questions, opening the way for and giving shape to a different
history of seeing, an inquiring and analytical seeing of projective spaces, and others of more
recent exploration. And so a recent History of Art has developed in which experimentation –
methodical and as a methodology, has gained the privileges of artistry and even authenticity. Let
this serve as a prologue, a succinct analysis of Hélder Mendes exhibition. Composed of pieces
from 1995 to 2004, Helder’s exhibition practically assumes the character of a Journey through the
work of a young, hard-working and talented artist who, being a self-taught artist, found himself and
found an answer to various questions and inquiries, which generally fit into a discussion about
materials and their organization. However, references outside that undertaking are not to be
dismissed, but rather used as a theme to improvise on a creative, dynamic and self-affirming
process. Various influences can be detected, from Pollock, other expressionists, Tàpies, the new
French realistic artists, but the most visible feature is Hélder Mendes’s capacity to immediately fit
into the interconnection of the rational, the organic and the experimental in an improbable
management of (well) controlled random events, as is shown in and through these exhibited
works. It is worthwhile stating, according to the aforementioned assumptions, that these works
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should be located at the confluence of Painting and Sculpture, surface and relief, colour and noncolour, thus acquiring an internal complexity, which by its management demands the active
participation of the viewer.
 Nuno Lima de Carvalho, February 2002
Of the many assignments of an Art gallery director, one of the most difficult – if not perhaps the
most difficult one – is to pass judgement on a first work displayed by someone who is not known,
nor has the support of a body of other completed work, some exhibition in an accredited gallery, or
attendance at a school – even though this last is of little importance, because it becomes more
and more obvious that an artist is born and not made – apart from the other evidence that helps to
form a just opinion about the candidate. In most cases, the presentation of one or two works is
enough to assess with some certainty whether or not the artist has the ability to move on and
grow, and so to give encouragement: in the first case, “work, work and keep trying!”, or to say,
always with regret “painting, sculpture, drawing are not your future…” When I saw Hélder Mendes
for the first time, some ten years ago, he was not even twenty yet, but he exhibited work which
surprised me. However, perhaps self-indulgenly or for fear of making a mistake, I gave him the
benefit of the doubt because his work was displayed side by side with qualified finalists from Fine
Arts colleges. The years passed. I always followed his career with interest, and I soon recognized
it as being reinforced by interesting exploratory work, as well as an iron will, which I quickly
realised was supported by a true talent that showed itself in each new work. I was impressed by
his joy of constructing, brick by brick, his own particular place in the World of Art. When you are
an artist, any material will do. I can remember the way Thomaz de Melo/Tom would take a paving
stone and turn it into a work of art, and how Martins Correia, with three or four lines would create a
marvellous drawing. Hélder did not have to spend years sitting on the benches of a school, nor
buy expensive materials at art shops, because the waste wood from his relatives’ workshops
would be enough for him to create intrinsically modern forms, to construct compositions with
humble materials and give them an artistic identity, to use paints and create chromatic worlds
which were not mixtures, but rather harmonic constructions in which colours were mutually
complementary and the beauty of form stood out. And the benefit of the doubt given some time
before to this 17 or 18-year-old young man has proved to be in his favor. It is said in Latin, “contra
facta non valent argumenta”. Facts are facts. And Hélder stands today as one of the most
valuable members of this generation of young artists. He has created his own language, on one
hand opting for the very difficult language of material art, and on the other, for sharply
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constructivist and neo-figurative compositions, using the natural pattern of the cuts in tree trunks,
his justifiably preferred material. If Art can not be separated from the man and artistic talents go
hand in hand with human qualities, Hélder’s greatest quality is modesty and to which I would add
the joy of living Art, transforming a dream that appeared fragile into the reality of being called an
Artist. With a great and promising career ahead of him.
 Carlos Lança Chairman, A.N.A.P (National Association o Plastic
Astists), Oporto, 2001
“The other side of things”
Painting/Object
SEEING, FEELING…
“The other side of things” is a way to go beyond imagination, to see what exists on the other side
of things which, above all, can also be felt… It is a question of sensitivity, if not an escape from
reality. Essential sometimes. Hélder Mendes, during the continuous permanent maturation of his
creative process, translates his own personal sayings and symbols, meaning many of the things
sublimated in his gestures of artistic achievement exceed the simple condition of our daily
reference: it is not merely “looking things over”; this young artist’s analysis is a singular way of
approaching
observation
that
is
up-to-date,
if
perhaps
simple,
but
none
the
less
significant. Recently awarded with the Rotary International Prize in a young painters’ contest, this
artist is more than a simple model of hope within that art being currently created around us, as
long as we can be certain he is recognized for it. The current exhibition in his hometown will have
the added value of lending credibility to a talented artist who is already well known outside his
home territory. After all, this is a constant process, natural but maybe precisely because of that,
indispensable. The works now displayed, some more recent than others, testify to his dedication
to an activity not always understood and even often undervalued: artistic creation. But in the end,
man is by nature a creator, a repository of ideas, dreams and aspirations. Beyond the convictions
that move our senses. Hélder Mendes is one of the new generation of artists who have caught my
attention, I, who has long been walking the path of uncertainties and dreams never realized,
anxious to achieve them more expressively… Much more can be legitimately expected from this
young man. Hélder Mendes himself has the answer that we, also legitimately, are expecting him
to give us soon: the confirmation of his creative potential in clear and unequivocal terms.
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Especially for the more sceptical; because to us, who see him in his true creative dimension, he is
a certainty. Today and tomorrow.
 Edgardo Xavier, Membro da A.I.C.A, International Association of Art Critics
Estoril, 2001
Just like Torrens, a Galician-Portuguese citizen of recognized merit, Hélder Mendes has been
fascinated by materials, considering them the “primus movens” of his aesthetic discourse. The
colour, texture and aroma of wood are the sources of the inspired work he has been executing for
quite a few years. Appropriation and rediscovery of “the real” within the concepts that have made
20th century art history are the basis of an exploration of increasing quality, through which this
young, self-taught artist learns and matures. Ambitious but humble, determined but flexible,
persevering but attentive and sensitive, Hélder Mendes paints with relief, sculpts with contrasts of
material and weaves, in his own language, an Art that is reinvented everyday in order to satisfy his
eagerness for originality.
 Carlos Lança Chairman, A.N.A.P (National Association o Plastic Astists),
Oporto, 2001, Porto, April-2000
A promising career…
Hélder Mendes is a young artist who, from painting to working with recycled materials (wood in
this particular case), keeps building a portfolio of notable consistency and solid artistic-plastic
expression. Not content with small-scale exercises, his works present an unusual (and
“unexpected”) awareness as far as technical processes and formal solutions are concerned,
naturally expressing their evident value and his creative ability Committed to assuming the risks of
a creative choice, not easy when faced with existing models so set in narrowly defined patterns,
Hélder Mendes is not shy about the qualities for which he is known (qualities and not quantities,
being the fundamental distinction in this assessment…) such as in the case of Lucio Muñoz, a
Spanish author of recognized mastery, who internationally may have been an influence on many
authors, especially during the closing decades of the 20th century. Searching for meaning in the
most common things, but avoiding their inherently simple interpretation (which leads observers of
the artist’s work to an interpretive process of his objectives), he characterizes his creations by
details of notable impact with respect to the intelligent “architecture” that underlies the structure of
the excellent pieces he has been creating. “Sublimation of Matter” (and its Interpretations) is a
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benchmark exhibition, in the sense that, especially among us, the appearance of such artistic
expression is not common, particularly because of the strength shown by the artist, who using the
innovation of expression at his disposal, continues a career, which however recent, is strong
enough to stand on its own in both the national and international spheres, we are sure. As long as
the usual conditions allow it… The values that characteristically drive the creation of this young
artist’s work determine the clarity of his goals, and it is remarkable to witness the extreme and
meticulous attention dedicated to his extremely interesting works. His interpretation of the things
so common in our daily lives, and which we know intimately – these most familiar things determine
the final result he seeks. However, the way Hélder Mendes characterizes these things allows us to
exercise a poetic experience of the images of exactly those same things that we commonly
encounter. Perhaps one of the most captivating (and fundamental) reasons for the appreciation of
this artist’s works resides precisely here. Time will prove many things about Hélder Mendes’s
work, but we are certain that, above all, it will be the high quality that is already evident. Hélder
Mendes, whose singular expression is clear in the world of plastic arts among us today, certainly
could greatly impact the art of the future in Portugal. The one and only condition is that he remain
faithful to his goals. We believe he knows that too. By maintaining the determination and simple
honesty for which he is recognized, this artist will not fail to meet our expectations…
 Prof. Henrique Silva (President N.D.C Project), Vila Nova de Cerveira, April
2000
Awarded with the “Baviera” acquisition prize at the 10th Biennial International Art Show in Vila
Nova de Cerveira, Hélder Mendes, a young artist with a promising future, explores materials “at
his ease” and with a mix of ingenuousness and technical mastery, which makes us think that he
has a place in contemporary Portuguese art.
 Jean-Michel Correia, Pedagogical Director, Carrousel Workshops/ Museum
of Decorative Arts, Palace of the Louvre, Paris, June 7, 1999
I had the opportunity to see the exhibition of works by the artists selected for the Arpad Szenes
Award, at the Calouste Gulbenkian Foundation Cultural Centre in Paris, and I was very much
interested by the work in wood by the artist Hélder Nicolau B. Mendes. The three works on display
are of high quality. The 1997 piece “O Caixote” (The Packing Case) displays a true artistic
maturity. The works “Camisa” (The Shirt) and “A Cidade” (The City) show great originality both in
theme chosen and in the carving. The technique of using raw wood integrating the bark itself as a
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pictorial material is very rich. I highly encourage the artist Hélder Nicolau B. Mendes to carry on
with his work of discovery.
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