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.
Pedro Barroso (musician, author and composer)