Ricardo Romero

&nbsp;Peter Pan&nbsp;Peter Pan's syndrome (do latim: Puer aeternus) is characterized by individuals who can't see themselves as adults and take their obligation seriously. They have childish and irresponsible behavior as they seem to lose track of reality.&nbsp;It is still difficult to admit that we can't live forever and live eternal adventures without some sense of engagement and liability.&nbsp;But isn't that the fun part of being a grown up? Making every moment count? Creating the things that outlast you.&nbsp;We must be true to ourselves and others in the pursuit of our happiness and growth.&nbsp;That's what being a grown up is. Taking a hold of our fate and not relying on others to do so.&nbsp;So just… grow up!

"don't grow up, it's a trap!"

. to dream:Contemplate the possibility of doing something.&nbsp;The mere definition of dream opens a world of possibilities, opportunities and of vast and limitless fantasies.&nbsp;But the modern world tends to have our dreams and hopes put in boxes, closed, narrowed or limited.&nbsp;The social bubbles and social dynamics we live in impose filters that lead to confined aspirations and insecure adults.&nbsp;Our creative self and our creative freedom should not be domesticated. We should ban all ties and cut the threads of our hanging dreamers.

"hanging dreamers"

Crew

Untitled

<div>Project: Infinito Festival 2022</div>

A Tribute to Nelson Mandela

Starting from a referent from 1911, this is one of Lewis Hine's photographs that served to bring to light the enormous scourge of child labor in the early 20th century.When the children play“When the children playAnd I hear them play,something in my soulBegins to rejoice.And all that childhoodThat I didn't have comes to me,in a wave of joyThat belonged to no one.If who I was is an enigma,And who will I be a vision,who I am at least feelThis in the heart.”by Fernando Pessoa

"when the children play"

“The work “Future is coming” (2021) consists of a mural in which Ricardo Romero involves us in an open-ended visual narrative.At first glance, it appears that it is a satellite or a probe, in which a series of plots develops. In fact, the parallelepiped structure that forms the large stain of the painting is a mold used in the plastics industry, an integral part of the culture and tradition of Marinha Grande.It is in this “satellite mold” that a new world is inscribed, where experiences collide and actions are transmuted, in a surreal and poetic vision of the future.”

“future is coming” 

With a frame from 1995's "The Hate" by director Mathieu Kassovitz we are transported to a world of anger, justice (or the lack of) and hate feeding hate in a neverending loop. A ever falling society that never quite get's back on her feet.Ricardo Romero reminds us that hate is a wired weapon always charged and that we have the power to decide to, or not to, take the shot.

"the hate"

Riscas Vadias

Outing project

The Robot One

We take the mask off to keep the one on the inside.That the world around us crosses swampy landscapes is nothing new; What is new, perhaps, is to see how our lives change and change in what is increasingly immutable, in the habits of each and every one, and in what will possibly be seen in a future from which we cannot escape.&nbsp;In the shadow of what remains, is the chronology of the imaginary. Since expression is a unique vehicle in the way we have been communicating since always, and forever, we attribute today to free will the universality of interpretations that reveal themselves to be adjacent to any behavior: the motor-visage, the first facade - closed for works -, the artistic exhibition that we attribute to the way we look and how we are looked at, in an almost perfect juggling act between what we want to show and what we actually show.&nbsp;Herein lies the true superpower of disguise: the infinite possibility of unreality.The mere mask, and its effect on us.We feel more secure, more confident, free from danger and fear, under its purview. We masterfully hide any flaw or feature, we attribute merit to the courage to be able to do and say everything that we had not said until then. We reveal the bow to the countenance we bring.&nbsp;Countless times we have recognized how the fear of a face is capable of generating change, something that has been marked in human history through the great wars, in events that have developed until the culmination of important movements that appear today imprinted in societies and in everyday life. There are even those who say - with the mask they choose - that we live a war; a phenomenon that will undoubtedly change our form of world organization.&nbsp;The face matters for communication and its behavior is an integral part of our culture, but what face will we see in a world of masks? Is face covering what we can expect from each other?&nbsp;By attributing a false protective power to the mask, our supreme security, as well as the stability of the ego, will be in equal threat.Without looking at classes, will the practice of empathy and its social impact serve as sufficient reflection?&nbsp;Deep down, the masked being is nothing more than a tool that increases an illusory sensation, when displaced from its elementary purpose.&nbsp;We thus gravitate between enigma and astonishment in the freedom to decide not to show what the face reveals.&nbsp;By merging the frame of the disguise with the real face, we arrive at a painless embankment within ourselves: a plunge into the collective hand that we bring to our face.&nbsp;"The mask that belongs to everyone and that belongs to no one. The mask that protects, that hides, that reveals and that deceives. The mask and its plurality."

"behind our masks"  

"The real voyage of discovery consists, not in seeking new landscapes, but in having new eyes." Marcel Proust Roque Gameiro, born in Minde in 1864, was one of the great portuguese watercolourists. His penetrating eye could transpose the other, in a duality between soul and body, well patent in his self portrait. With bucolic settings and natural landscapes we can´t help but feel a certain poetry in his draw. It was exactly that penetrating eye that Ricardo Romero wanted to pay tribute to in Amadora, giving it a new context to his vision, taking us to simpler times with the laundresses in the river in a coordenated dance always followed by that look that lockes us in a bond.source: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/ricardoromero.pt/">https://www.instagram.com/ricardoromero.pt/</a>

Roque Gameiro

Projecto Matilha

The death of the poor"it's death that comforts us, alas! and makes us live ;It is the goal of life ; it is the only hopeWhich, like an elixir, makes us inebriateAnd gives us the courage to march until evening"&nbsp;Charles Baudelaire&nbsp;It was always with a constant belief in a better world that our predecessors battled on a daily basis.&nbsp;Death as a final goal of liberation served as fuel for fast and consolidated labour strength.&nbsp;However this past is mortgaged regarding the future.&nbsp;In the past labour made the man, honest work, sun to sun man work served a higher purpose so that the children and grandchildren would have a better and more worthy life.&nbsp;And what are we doing with these long builded tools that have been passed on from generation to generation?&nbsp;What are the values that we currently transmit our children?&nbsp;What gives us now "courage to march until evening"?

"the death of the poor"

All of us often feel trapped between feelings of guilt, love and hate and feel how fine the line is between them.&nbsp;My piece tries to capture the limbo between love and guilt, much as my relationship with my art which is fueled by that duality and power.&nbsp;"My conscience hath a thousand&nbsp;several tongues&nbsp;And every tongue brings in a several tale,&nbsp;And every tale condemns me&nbsp;for a villain."&nbsp;William Shakespeare

"love and guilt " 

Zambujal's Neighbourhood is another neighborhoodb ambassador for Sustainable Development GoalsS (SDG) for the United Nations. Therefore, this wall intended to represent SDG17 "Partnership for the goals". It began as a representation and homage to the African communities of the neighborhood and its dialogue with other communities. In a time when the drummers needed one of the drums fixed, the local upholsterer quickly offered to help, symbolizing the enormous sense of help and cooperation that exists in Zambujal. The pattern that appears in the wall, besides representing the costumes the drummers wear, intends to be a symbol for the overlay of cultures that work here together, that elevate each other without ever outshining, that work simultaneously to make the Zambujal neighborhood an inclusive space, of cooperation and development for a more fair and equal society.

"it's death that comforts us, alas! and makes us live;It is the goal of life ; it is the only hopeWhich, like an elixir, makes us inebriateAnd gives us the courage to march until evening"&nbsp;Charles Baudelaire&nbsp;It was always with a constant belief in a better world that our predecessors battled on a daily basis.&nbsp;Death as a final goal of liberation served as fuel for fast and consolidated labour strength.&nbsp;However this past is mortgaged regarding the future.&nbsp;In the past labour made the man, honest work, sun to sun man work served a higher purpose so that the children and grandchildren would have a better and more worthy life.&nbsp;And what are we doing with these long builded tools that have been passed on from generation to generation?&nbsp;What are the values that we currently transmit our children?&nbsp;What gives us now "courage to march until evening"?

The death of the poor

It was the year 1918 and Lewis Hine was crossing the country, documenting with his camera the work of North America’s Red Cross on what would become an historic photographic record of the path walked and suffered of refugees, orphans and war injured. The black and white pictures, filled with pain and grief shine through the horror of the atrocities committed at the time. They seem remote and primitive times of one of the darkest periods of history. It amazes that over 100 years passed, and history tends to repeat itself and the world keeps being dragged into wars that cause more refugees and people that are left with no place in the world

Hunter

Any time is time.The very time of deathit's time to be born.no time is timeenough for scienceto see, to seetime, setbackcancel each other out, but the dreamleft to live. “Any time” by Carlos Drummond de Andrade Time is an uninterrupted journey towards the future, an invisible and immaterial entity that governs our existence. It is a process of self-renewal in a dialogue between physics and metaphysics, in a temporal relativity that makes the nature of its perpetual motion even more intriguing. This piece intends to capture this movement, in a reflection on the relentless nature of time, incessantly moving forward, without ever stopping. It is time, fluid and uninterrupted, that confronts us with the ephemerality of life.

Street Art Cities

Ricardo Romero

About the artist

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