“A massive grave was found on the outskirts of the city, more than 100 hectares of vertical destruction accumulated over 130 years, allowed for the vertical construction of the adjacent architecture.
The quarry is surrounded by luxury condominiums, built around its rim, and its inhabitants face
perpetually onto a steep canyon, probably unaware that the place they stand on was taken from the
place they look at.
The quarry was once a loud and dusty place, a limestone theatre whose play was endlessly sound tracked by rubber and cement. After leaving it behind one would constantly hear the feathers of the pillow drumming the sound of the traffic over the rusty bridge.
It rests now neglected and exposed to emptiness, like the bunkers on the Atlantic coast, where destruction acts calmly, echoing over a vast sea of drowned memories. In such places, there is always a fraction being consumed by the absence of men’s hands, because the hands of man delay space’s intentions for objects, postponing their natural deterioration.”
Henrique Pavão, 2017
The quarry was once a loud and dusty place, a limestone theatre whose play was endlessly sound tracked by rubber and cement. After leaving it behind one would constantly hear the feathers of the pillow drumming the sound of the traffic over the rusty bridge.
It rests now neglected and exposed to emptiness, like the bunkers on the Atlantic coast, where destruction acts calmly, echoing over a vast sea of drowned memories. In such places, there is always a fraction being consumed by the absence of men’s hands, because the hands of man delay space’s intentions for objects, postponing their natural deterioration.”
Henrique Pavão, 2017
3.77 Seconds, 2017
Inkjet print on cotton paper 320gr
(9) 160 x 125 cm
Installation view, ‘Wherever I am not is the place where I am myself’
Appleton Square, Lisbon
Photo — Marco Pires
© 2024 Henrique Pavão