Tiago Margaça is native of Aveiro (Portugal), musician and Artist, at the age of 9 started his first works with ceramic and with 12 started to play the electric bass. His first try with oil paint and wood carving during his high school years, already reveled the need for plastic creation. His academic journey, begins in 2004, studying sculpture at the ESAD (Caldas da Rainha) University, participated in his first stone sculpture symposium at Simpetra 2004. Before he graduated he Won the third edition of the Ariane de Rothschild 2007 painting prize. On 2008 he is Resident artist in London Slade School of Arts, and makes a mural for the Lisbon Gothe Institute. After he graduated he decides to go to Berlin to learn how to develop analogue film and starts a seven month internship at ANDEC, where he worked for 8 years. While working in the lab he collected and developed extended work in super8, 16mm and 35mmn and on 2016 he shows his film work in Berlin and Lisbon. During this Berlin phase he concentrated his efforts on video art and music, where he founded Musgos, a project that combines music and analogue visuals that can be defined by arrhythmic and dissonant sound landscapes. Since 2019 he returned to his home town, made art residencies and art shows from stone sculpture, to installation, cinema festivals and concerts. Finished in 2022 the master in contemporary artistic creation at Universidade de Aveiro, currently with his studio at Aveiro’s Gulbenkian, his day to day work focuses on seeing his art practices as a dialogue with matter.






My work process, is the ability to dialogue with mater, in which the plastic experimentation becomes a communication with the different work materials. If you see 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 a specific language. With matter is the different plasticity that is defined by the material characteristics and the tool used to interact with it, in other words the dialogue is defined by the chosen matter and tools. 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 dialogues 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, the dialogue with the material, is variable and ambiguous. In other words, if you use a stone tool on plaster, 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 and your voice almost vanishes, but using a nife, 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.