Adália Alberto was born in 1973 in Leiria, Portugal.
In 1999 she started creating original sculptures and she participated in the 1st Forum of Artists at the Leiria Castle.
In 2000, she held her first solo exhibition, in Leiria.
In 2005, she represented Portugal in the 13th Art Salon in Saint-Maur- Des Fossés, Paris.
In 2007, Adália was awarded with the Certificate of Merit Recognition by the Elos Club of Leiria, the Honour of the Brazilian Association of Drawing and Visual Art, ABD and the Honour Medal of Merit by Maria da Fontinha’s House Museum, Castro Daire.
In 2010, she created the artwork entitled “Senhora de Costas” (Back Turned Lady) for the exhibition
“Go for Arts, Citizens” – in the Serralves Museum in Oporto, with the plastic artist Rigo 23.
In 2013, Adália was the commissioner of the Symposium of sculpture “Perpetram” in partnership with the Municipal Council of Porto de Mós, Leiria.
In 2015, she participated in the Vera World Fine Art Festival at the Cordoaria Nacional in Lisbon, where she was awarded with the special prize “Applause from the Jury”.
In 2017 she worked with the plastic artist Rigo 23 for the project “Itacoatiara”- scar of Tordesilhas, in the Millenium BCP Foundation, Lisbon.
In Portugal, she has held exhibitions all over the country.
Her work is represented in several Museums, Town Halls and Art Galleries and in a number of private art collections in various countries such as Alemanha, Angola, Austrália, Áustria, Bélgica, Brasil, Cabo Verde, Canadá, Chile, Dinamarca, Dubai, Espanha, Escócia, Estados Unidos da América, França, Finlândia, Índia, Irlanda, Grécia, Holanda, Inglaterra, Irlanda, Islândia, Itália, Líbano, Luxemburgo, México, Mónaco, Polónia, Portugal, Rússia, Suécia, Suíça.
2018 - "Sprint", Mourão, Évora
2016 - “Deer”, Nazaré | Bust of the Republic, Guimarães | Monument to the 600 years of the Occupation of Ceuta, Pedrógão Grande
2015 - “Bonds”, Biscarrosse, France | “Affection”, Alcobaça | Common Language, Porto de Mós
2014 - “Bonds”, Pombal
2013 - Sculpture as a tribute to the extractive and manufacturing industry of stone and traditional Portuguese – Porto de Mós
2011 - ”Cumplicities”, Carregado, Lisboa
2010 - “Pega de Caras 8Bull Catch”, Santarém
2008 - “Paver”, Porto de Mós | “ The Bullfigter”, Santarém
2005 - Monument to celebrate the 35 years of career of Pedro Barroso, Riachos, Torres Novas
Adália Alberto tries / experiments, she does not intend to be stuck to or marked by a style.
The sculptures can be of an introspective, humorous or provocative nature.
The artist considers that art is both a critical and a provocative view of the society we live in, combined in an aesthetic harmony, able -or not – to ignite emotions sometimes difficult to materialize. Art is the constant questioning about our role as citizens, in the so called global world, in an attempt to find the answers to our concerns.
Art allows us not to be held hostages to a simple vision. Art questions us, provokes us, confronts us with a society where the human being is constantly being tested, in the permanent attempt to find happiness, which really fulfils it…”
'Sculpting my dreams I keep on finding Happiness"
bout this thing of doing art these days. The interpersonal bonds are always very important; therefore, the way we meet someone gets inscribed in the foundations of the future working relationship.
The sculptor Adália Alberto was recommended to me by a paviour from Porto de Mós and because of this her work and her way as an artist remained connected to an idea of rooted art. An art that knows how to survive in its surrounding. An autonomous and resistant art.
After that came the experience of working together. Adália’s dedication, enthusiasm and professionalism are genuine and contagious. Always ready to accept new challenges, Adália’s creativity is not limited to the sphere of aesthetics, but stretches to the active solution of problems.
It’s a joy working with Adália and her tireless partner – Agostinho – who now, besides being a partner in Life, is also a partner in the artistic adventure.
Thanks to both!
With friendship and affection,
I spent a day with Adália through the Aire’s Mountains (Serra d’Aire). I saw her eyes shining all the time on the landscape, observing, restless and creative, the forms and textures of the stones and the cliffs.
When she, a little shy, asks me to write her a text, I realize I am smiling. Would I know how to do it with stone and dreams, like she does, and everything would flow easily, like the traffic of my admiration for her work, especially for “her women”.
I know her way. She gets silent very often, staring and thinking. Because she can’t find the words. The same that are too many, sculpted on the chest of the dream and fascinate us. And I do write. I write and describe the fascination of the elegant bodies. Just like the utopia and the tenderness, on a trip full of infinite wishes. In this show, once again, women-courage stand from the massive where they had always lived, simply undressed of the superfluous stone that was hiding them.
I have always considered it magical, in the art of Sculpting, the polished understanding of what was already there, as usual, hidden to those who don’t know. And the Master gets it, direct to the body and form, always full of instinct, of erotic, and of offer.
The shy girl that used to play with the stone has grown a lot. She is today an example of renovation, interrogation, and permanent departure. From the descriptive, she moved to the discovery of major symbolisms, where, with provoking humour, the woman leaves the common place and becomes a superior goddess, defying all the taboos. And how it is easy for her the breath of life that comes from the material. Adália is looking for the dream that takes us. And the irony is on her simple, quiet, and nearly discrete look. As if someone who begs us pardon for being each day creatively bigger.
As devices generate more and more image in a regularly accelerated pace, the social noise and confusion (fusion of contexts) increase and dull one’s senses, and therefore, in this period of my life, I think like Nietzsche: «only art saves us!».
Which art, though, when everything is presented as such by the media nowadays? When I face this dilemma - and a better criterion doesn’t exist - I apply Ockham’s Razor (or the principle of parsimony) i.e., from everything that the system offers me to consume as art - I ignore everything that isn’t simple. I do this filtering because simplicity conveys peace to me.
Based on this temporary certainty of what art is (to me), I am led to praise those who produce something which conveys peace to others. Those who do this I call artists, because being an artist is an attitude towards existence, which makes humans express physically the contents of their conscience.
A person is an artist in two opposite ways:
In this case, the individual chooses the academic route, submitting itself to the institutional authority, to the identification with a style, according to a supposed historical evolutionism of the art occurred in an illusory area of psychological comfort, supported by the artificiality of the categories, of the chronologies stipulated by the History of Art and by the contingency of interests.
In this case, the individual wonders about the meaning of reality and - in a sudden impulse - assumes one’s right to be different and emancipates itself from the conventions, supporting the materialization of thinking in nothing else but his own (a)perceptive conscience, reflecting and marking his personal position against the evanescence of time.
I think that Adália Alberto belongs undoubtedly to the second way described above, because she does what she feels and what she feels flows from her in a simple way -without beating about the bush - as in a practical exercise of her thinking-made-matter.
Her sculptures do not follow a single typology. On the contrary, each piece - even when it is part of a series - represents a single thought. However, while observing a group of her art pieces, we infer the uniqueness of separate creative moments, which give way to figures whose bodies show:
The harmonious and nude simplicity of childhood.
The irony of imposed social roles.
The elegant iconoclasm of the female gender.
The introspection – bent upon itself.
The complexity of human relationships.
To conclude, the artistic work of the sculptor Adália Alberto shows us her meditation about the diversity of human condition, working the stone with the mastery characteristic of someone who has a conscience propelled - by the deep sarcastic doing - that comes from experience. And only that lively pressure allows the freeing of feelings into matter.
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