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'Waterspout' - ceramic stoneware and oil painting

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'Waterspout'- ceramic stoneware and oil painting.

Wall mount 32×30×13 cm

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Sometimes life throws you unexpected, wonderful gifts.

The extraordinarily talented and sensible videographer @josetehuedo came to the studio and worked his magic.

Thanks to @bruzzbe / Bruzz International Culture for the interest and this great interview.

It's a little and rare insight about me and my work.

Original Video with Flemish subtitles:

https://www.bruzz.be/en/videoreeks/zaterdag-16-en-zondag-17-december-2023/video-rui-barros-i-had-accept-making-art

#belgiumartist #artiststudio #contemporaryartist

#brusselsartist

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“Au Bois Dormant”

Stoneware, metal glazes and slips. 2022

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My set design for "Dance of the Seven Veils".

An opera/ music theater exploring the story of Salomé.

Here in a set up for a private show at Axel Vervoordt.

Production by Oester, partenered with LoD (Ghent), Muziektheater Transparant (Antwerp), Ancienne Belgique (Brussels) and Axel Vervoordt.

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" Invasive species " , stoneware and bespoke glazes. 45 cm tondo (wall mount)

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'Ciel de plomb '. Stoneware and bespoke metal glazes. 45x45x40 cm

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' Naufragé '. Stoneware and bespoke glazes. 30x16x20 cm. (Natural size)

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'The Anointing' - floating relief (wall mount). Stoneware and bespoke metal glazes, 47cm diameter.

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“La fin de l’innocence”, Stoneware and naturally induced crystals. © Rui Barros

private collection

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‘Fallen love with rising vanitas’

Plaster sculpture with natural crystallizations , digital painting on Plexiglas.

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Ledas Geist- Leda and the Swan is essentially a story of deception, a disguise of identity and rape, here revisited in this time of awareness. In the age of social networking, filtered embellishment and projected identity, dating apps provide a frivolous catalogue of choice without a real empathic connection. Again, objectifying without considering the other in favour of unbridled desire. A face and a body are no more important than the next 'swipe'. The Swan, an analogy of the phallus with its unnatural proportions, embellished within its frail virility, almost resembling an adornment of icing sugar on a wedding cake.

Digital painting on Hahnemühle paper, plexiglas, composite sculpture and light.

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Glad to announce I'll be exhibiting at the historical Maison Pelgrims in Brussels, Belgium. From 22nd May to 9th June 2019.

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“Frost Bite” Polychromed stoneware. ©Rui Barros

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‘Traces de Vie��� is a serie of porcelains anchored in the Japanese wabi sabi aesthetics principle: ‘The greatest beauty is imperfect, impermanent, and incomplete’. It is an evocation of artist’s studio crockery. Most artists use old crockery and faience- frequently purchased at flea markets, as palettes and containers for mixtures and paint brushes. The crockery becomes aged, worn and battered but also regains a new life and dimension, covered by the layers of paint and the artist’s imprint. ©Rui Barros

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Video from Vitrine #80 (2017)

Rui Barros – Promenade / Wandelen

LUCA Bibliotheek Sint-Lukas - Paleizenstraat 70 - 1030 Brussel

an instalation at Luca School of Arts in Brussels , Belgium

(Porcelain, Gouache, Assemblage, Papier Machê)

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Details from Vitrine #80 (2017)

Rui Barros – Promenade / Wandelen

LUCA Bibliotheek Sint-Lukas - Paleizenstraat 70 - 1030 Brussel

an instalation at Luca School of Arts in Brussels , Belgium

(Porcelain, Gouache, Assemblage, Papier Machê)