Tiago Margaca is a native of Aveiro (Portugal), at the age of 9 started to do some ceramic pieces and with 12 started to play the electric bass. After his first trys with oil paint and wood carving during his high school, in 2004 he started studying sculpture at the ESAD (Caldas da Rainha) University and participated in his first stone sculpture symposium. Before he graduated he Won the third edition of the Ariane de Rothschild 2007 painting prize, on 2008 he is Resident artist in Slade School of Arts, where he discovers the super 8 film format. After he graduated He decided to go To Berlin to learn how to develop analogue film and to make music, where he founded Musgos band and starts an internship in ANDEC film lab. In his own words “learning how to develop film, was the hardest sculpture that I ever did”, this saga lasted 9 years, and in the first years he did not did any art show. In 2016 he shows his film work and rediscovered how he miss expressing freely with matter. while working in the lab he collected and developed extended work in super8, 16mm and 35mm. Since 2019 he returned to his home town and made art residencies and art shows from stone sculpture, to installation, cinema festivals and concerts.
Being so, he works with traditional sculpture matters like stone, wood and steal, etc…,. Never the less, he uses analogue film as a drawing support, uses arduino to create a new interactive habitat, Indian ink to redefine the surrounding space, etc…,. Currently in his last year of masters in contemporary artistic creation in U.A., his day to day work focuses on seeing his art practices as a dialogue with matter.


Tiago Filipe Cravo Margaça
Born in 26/01/81 Aveiro- Portugal

Colective shows

“Silencio”, Santa Joana museum, Aveiro, 2020
– Internacional stone simposium de Rio Maior, 2019
-“Neo-saudade” Hotel 45 Berlin 2011
-“Land Scape” Julio de Matos (mental institution), Lisboa 2008
– “Anteciparte 08” Lisboa city musuem 2008
-“Saídos do sótão”,Jorge Shirley Galery, Lisboa 2008
– Lx Factory “ painting prize Ariane de Rothshild” 2007
– “Saidos do sotão” gallery Jorge Shirley, Lisbon 2008
– “Tamanhos XL Formas do Corpo”gallery Corrente d ́Arte, Lisbon 2006

Individual shows

-“Suspention IV”, Teatro Aveirense, 2020
-“Casa Azul” at Torres Vedras, 2020
-”Reasons of Light” at “NUN”, Berlin 2018
-”Light drawings” at “ Embaixada”, Lisboa 2014
-“Tres razoes de Luz” at “Joao Coctau”, Berlin 2013
– “Propagação IV” “Performas” Aveiro 2010
– “No title” Sculpture, at Worburn Square Researsh center of Slade School of Arts, London 2008
-“No title” drawing, at Goodenough College, London 2008


– As a trainer gave a drawing workshop, for Nena Institution berlin 2016
-Ceramic, with Uta Minnich and Lisa Ruland, making a mural for the Goeth Institute Lisbon 2007
-Participation as a helper in Simppetra 2004 (international symposium of stone sculpture of Caldas da Rainha). As-
sisting two artists Mabushi Hirochi (Japanese) and Said (Egyptian). Were I learned to work in granite and marbel .


-Currently on the second year of the  Masters in Contemporary creation in U.A.  Aveiro 2021
-Internship in ANDEC (film lab) Berlin 2011
-Degree in Fine Arts Sculpture E.S.A.D. Caldas da Rainha, Portugal.
-Resident artist in Slade School of Arts 2008 London

-Festival de Cinema de Avanca 2019
-Bienal de Coruche 2019
-Selected for “Anteciparte 08”
-Winner of the third edition of the painting prize Ariane de Rothschild 2007


“My work process, is the ability to dialogue with the material, in which the plastic experimentation becomes a communication with the different work materials. Plasticity as a language / s, each subject has different peculiarities and thus different reactions. To communicate linguistically, it is necessary to have knowledge of grammar, phonetics and all the linguistic aspects of that language. With matter plasticity, the difference is that this is not a watertight language. Compared to the example given, in order to have a generic dialogue, it is necessary to have knowledge based on experimentation and technical mastery from that experience. Thus, it is important to emphasize how the matter dialog with us. This is not a closed methodology, but to focus our attention on the tenuous ‘material voice’. For example, when using a tool that is not suitable for a certain function, in the dialogue with the material, it will have a more present voice. In other words, if you use a stone tool in plaster work, the material will always reveal its fragility through this aggressive dialogue. On the other hand, if a brush is used, the material will show its resistance, but using a nail file, a more present personal ‘voice’ can already be exercised. None of the three tools are specialized for plaster work, however there is no imposition of right or wrong. With this it will be possible to conclude that the type of language with the subject is extremely ambiguous and variable, it is as if the letters were tools, however they can be used freely, they do not stick to grammatical rules. But always composed through an accumulation of experiences, thus, with the refining of the senses, we hear these matter voices increasingly clearer, until we become more susceptible to their presence.”