Art statement: My work is inspired by the historical context in which lithography became important as an agent for the emancipation of women. Abel Salazar was an interpreter of the social reality of his time. He was the precursor of the neo realism in Portugal, obliging the ordinary citizen to question himself through his art practices. His works did not intend to provoke the bourgeoisie, but he knew his themes were potentially a spur to active middle-class sensibilities and an opening to human solidarity. He had a deep respect for ordinary people. He portrays women, beaten by the storms of life, aware of the greatest misery, but maintaining a dignity that the strength of her work justifies. She is in herself a strength of survival and liberation. I believe art is for everyone so in this exhibition I want to provide the viewers with a series of limited lithography prints that they can take home. The lithography will be hand coloured, as a reference to women who laboured manually colouring lithographies. This provided for them a niche in this trade market showing her dignity and strength as a professional in society at this time. The hand colouring provides the opportunity to not only to produce a mechanical reproduction but to create a personalised art work. Based in technological archaeology, the investigation is not limited to the traditional stones from Bavaria, but to experiment with the ardósia stone from Valongo and marble from Alentejo. As Salazar use many way to experiment is his work, the variation of materials will be follow through this process. As a painter, however, even before he travelled outside the country, he was always an interpreter of the social reality of his time. Precursor in Portugal of other expressions of modern thought and in search of its personal truth, without favour and without fanfare, he was also a precursor also among us of the expression of a neo realism. He did not intend to provoke the bourgeoisie, he went further. He obliged the ordinary citizen to question himself through his paintings. He knew the themes were potentially a spur to active middle class sensibilities and an opening to human solidarity. The deep sense of this humility was born, essentially from his respect for ordinary people. He portrays the in her frame (not face) of a woman beaten by the storms of life, aware of the greatest misery, but maintaining a dignity that the strength of her work justifies... she is in herself a hope of survival and liberation. The hand colouring provides the opportunity to not only to produce a mechanical reproduction but to create a personalised art work. Based in technological archaeology, the investigation is not limited to the traditional stones from Bavaria, but aims to experiment with the ardosia stone from Valongo and marble from Alentejo. … But I didn't know everything From his great mission: I didn't know for example That a man's xxxxx is a temple a temple without religion As I didn't know either That the xxxxx he did Being his freedom, It was his slavery... (from the poem “The worker under construction” by Vinícius de Moraes) Unlimited Editions We now find ourselves in a situation where to be present in an exhibition is an act of courage. The viewer who exposes himself in order to see real art in its form in time and space as opposed to an image on the screen. Watching me producing a piece of art, allows the spectator not only the opportunity to contemplate the work, which requires the action of thinking, but also provides the testimony when watching. The act of printing a series that will be called Unlimited Edition, is related to the context of my investigation, on the African diaspora. It relates to the causes and effects in post-colonialism, and the fatigue of continuous labour with no remuneration. This action is underpinned by my belief that art is for everyone, and everyone requires access to art. I want the spectator to have the opportunity to watch the production of my work and take the artwork home. Its starting point is the printing on the lithographic device, bringing the elements of repetition. This requires hard work because the lithographic printing techniques consider the reproduction of the images must be perfectly equal. Continuous work brings physical fatigue, leading to a certain impatience with time, a kind of burden that complicates our lives, if we question whether we should substitute quality for quantity. But in art, one needs to learn the rules before being able to break them. Variations in the prints signify tiredness, or lack of concentration, but alternatively I perceive this variations as an opportunity to create unique pieces. Not only is the image multiplied, but the process of executing the latent image is the key that provides in its symbolic act the power to lock as it opens to release and provide freedom. The works will have to be produced in quantities to be given to the viewers. This unpaid work can be related to the act exploitation between races and classes but also as a manifest to art should be for all.