Vultus No. 2 Painting by Mario Henrique

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The «Vultus» collection, by Mario Henrique, is based on the concept of hypernormalisation - a term first coined by the Russian anthropologist Alexei Yurchak to portray a "fake world" that is run by corporations and kept stable by politicians, created due to their inability do deal with the complex aspects of the "real world”.

The British filmmaker Adam Curtis would later use the term as the main title and subject for his 2016 documentary, elaborating on how this fake and simplified world is designed to manipulate the general population, thus mining the overall perception of reality.

In latin, «Vultus» means “faces”, as in “appearance” or “look”. These paintings depict victims of this warped reality in which we are immersed, namely refugees and migrants. The purpose of it is to bring those faces out of obscurity and anonymity, and consequently offer some resistance to the hypernormalisation of the world.

«Vultus No. 2» (2017) - acrylic and oil on canvas, 110 x 110 cms
- High quality stretched canvas with a metal saw-tooth hanging clip on the back.
The «Vultus» collection, by Mario Henrique, is based on the concept of hypernormalisation - a term first coined by the Russian anthropologist Alexei Yurchak to portray a "fake world" that is run by corporations and kept stable by politicians, created due to their inability do deal with the complex aspects of the "real world”.

The British filmmaker Adam Curtis would later use the term as the main title and subject for his 2016 documentary, elaborating on how this fake and simplified world is designed to manipulate the general population, thus mining the overall perception of reality.

In latin, «Vultus» means “faces”, as in “appearance” or “look”. These paintings depict victims of this warped reality in which we are immersed, namely refugees and migrants. The purpose of it is to bring those faces out of obscurity and anonymity, and consequently offer some resistance to the hypernormalisation of the world.

«Vultus No. 2» (2017) - acrylic and oil on canvas, 110 x 110 cms
- High quality stretched canvas with a metal saw-tooth hanging clip on the back.
The «Vultus» collection, by Mario Henrique, is based on the concept of hypernormalisation - a term first coined by the Russian anthropologist Alexei Yurchak to portray a "fake world" that is run by corporations and kept stable by politicians, created due to their inability do deal with the complex aspects of the "real world”.

The British filmmaker Adam Curtis would later use the term as the main title and subject for his 2016 documentary, elaborating on how this fake and simplified world is designed to manipulate the general population, thus mining the overall perception of reality.

In latin, «Vultus» means “faces”, as in “appearance” or “look”. These paintings depict victims of this warped reality in which we are immersed, namely refugees and migrants. The purpose of it is to bring those faces out of obscurity and anonymity, and consequently offer some resistance to the hypernormalisation of the world.

«Vultus No. 2» (2017) - acrylic and oil on canvas, 110 x 110 cms
- High quality stretched canvas with a metal saw-tooth hanging clip on the back.
The «Vultus» collection, by Mario Henrique, is based on the concept of hypernormalisation - a term first coined by the Russian anthropologist Alexei Yurchak to portray a "fake world" that is run by corporations and kept stable by politicians, created due to their inability do deal with the complex aspects of the "real world”.

The British filmmaker Adam Curtis would later use the term as the main title and subject for his 2016 documentary, elaborating on how this fake and simplified world is designed to manipulate the general population, thus mining the overall perception of reality.

In latin, «Vultus» means “faces”, as in “appearance” or “look”. These paintings depict victims of this warped reality in which we are immersed, namely refugees and migrants. The purpose of it is to bring those faces out of obscurity and anonymity, and consequently offer some resistance to the hypernormalisation of the world.

«Vultus No. 2» (2017) - acrylic and oil on canvas, 110 x 110 cms
- High quality stretched canvas with a metal saw-tooth hanging clip on the back.
The «Vultus» collection, by Mario Henrique, is based on the concept of hypernormalisation - a term first coined by the Russian anthropologist Alexei Yurchak to portray a "fake world" that is run by corporations and kept stable by politicians, created due to their inability do deal with the complex aspects of the "real world”.

The British filmmaker Adam Curtis would later use the term as the main title and subject for his 2016 documentary, elaborating on how this fake and simplified world is designed to manipulate the general population, thus mining the overall perception of reality.

In latin, «Vultus» means “faces”, as in “appearance” or “look”. These paintings depict victims of this warped reality in which we are immersed, namely refugees and migrants. The purpose of it is to bring those faces out of obscurity and anonymity, and consequently offer some resistance to the hypernormalisation of the world.

«Vultus No. 2» (2017) - acrylic and oil on canvas, 110 x 110 cms
- High quality stretched canvas with a metal saw-tooth hanging clip on the back.
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Vultus No. 2

Mario Henrique

Portugal

Painting

Size: 43.3 W x 43.3 H x 1.2 D in

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About The Artwork

The «Vultus» collection, by Mario Henrique, is based on the concept of hypernormalisation - a term first coined by the Russian anthropologist Alexei Yurchak to portray a "fake world" that is run by corporations and kept stable by politicians, created due to their inability do deal with the complex aspects of the "real world”. The British filmmaker Adam Curtis would later use the term as the main title and subject for his 2016 documentary, elaborating on how this fake and simplified world is designed to manipulate the general population, thus mining the overall perception of reality. In latin, «Vultus» means “faces”, as in “appearance” or “look”. These paintings depict victims of this warped reality in which we are immersed, namely refugees and migrants. The purpose of it is to bring those faces out of obscurity and anonymity, and consequently offer some resistance to the hypernormalisation of the world. «Vultus No. 2» (2017) - acrylic and oil on canvas, 110 x 110 cms - High quality stretched canvas with a metal saw-tooth hanging clip on the back.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:43.3 W x 43.3 H x 1.2 D in

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Mario Henrique is an artist based in Cascais, Portugal. Graduated in Design from Lisbon’s University of Fine Arts, he started his career in online marketing and web development agencies. Later on, as a creative director, he recruited and led teams in Portugal, Spain and Brazil. As partner and head of design in one of these projects, he would eventually be part of a successful exit via acquisition, and then shifted his focus to contemporary painting, which had always been a parallel interest. A prolific portraitist, Mario is fascinated by the unpredictability of the human behaviour: the brief glances, the impermanence of facial expressions, the sudden movements. This dynamic is also present in his Ballerinas Series, which lean toward the abstract expressionism. Making use of uncommon and “rough” materials, like cardboards, reversed canvases and hardware tools, he paints abruptly and spontaneously. His approach relies on drippings, splashes and paint throws, so that the physicality of the painting process is transparent in the final piece. Listed in various private collections across Europe, America and Asia, he has exhibited in galleries both locally and abroad, and was awarded an Honourable Mention for his participation in the Brasília Biennial of Contemporary Arts 2016. He was also featured in Saatchi Art’s Inside The Studio and he's currently represented by the Bill Lowe Gallery and the Galeries Bartoux, amongst other renowned international galleries. Mario owns a studio/gallery at the Marina, in Cascais (Portugal), where some of his paintings are publicly exhibited.

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