Arte critica (previously known as Chroma kai Symmetria) synthesises the nature of art using a classical greek philosophical approach.

After more than two decades, I changed the title of my professional blog from Chroma kai Symmetry to Critical Art.

The title that I now leave for the archive of my wanderings served to identify my first solo exhibition at the extinct Galeria Graça Fonseca in the 90s of the last century.

The Greek expression that summarized the meaning of art —colour and symmetry— clearly describes my intellectual position on the nature of art and its place. Art stays in a place before and after science. It shows what cannot be said and says what cannot be seen. It is immediately behind and in front of the concept. It produces a unique, synthetic, indestructible tension. Wittgenstein wrote that colour cannot be explained or described but only shown when, for instance, we need to use a sample (a piece of fabric, a button, a silk thread) to choose a specific product for a particular colour in a haberdashery.

But art without symmetry is unnatural and chaotic. Chaos and Brownian movements exist, but disorder and randomness are the soup, not the fish that flows in it.

The world is not rigid nor permanent. Art says so through successive (obsessive) demonstrations, but its materiality, as well as its immateriality, obeys some logic. With it, we know how to calculate or measure things. There is, therefore, a place for theory and for symmetry in colour.

My indecisiveness oscillates between these terms of the fundamental equation of art.

Feel free to explore it