Graduated from ESBAL, starting to exhibit very early, still as a student, in the early 80's. From the first works, it was found that for Casqueiro the plastic attitude, in the field of painting practice, is more important than the theoretical attitude or the ideological stance. References do not take the form of quotes or comments, but function as pretexts to develop dynamics of displacement, multiplication and recomposition of plastic elements. It is not a matter of citing a synthesized, purified and cooled model - placed at a distance from critical questioning. It is about using several models within the scope of a multiplication and complexification logic.
At first, through the use of various graphic and compositional solutions, Casqueiro's painting sets up a true visual explosion, using over-accumulation and contrast by shock of colors and spaces.
At the turn of the 80s to the 90s, a milder version of Casqueiro's painting emerged. The surfaces are worked with refined precision: the overlays are resolved in a tendency to monochromatic background in which forms are inscribed or allowed to be seen organized according to rhythmic patterns.
From the mid-90s, more restrained works dominated by architectural rigor or even a geometric simplification that contrasted with the previous Mannerist bustle. More recently Casqueiro again uses graphic and figurative references that are sometimes reportable to comics but always re-elaborated according to his peculiar composition rhythm.
The most general characteristic of his work remains the ability to multiply spaces: the ability to combine two-dimensional spaces with three-dimensional suggestions or to cross abstract spaces with representative spaces.
As in a virtual setting, space is itself a character whose pulse is felt according to the intensity of the observer's attention.

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