01 JUN - 10 OUT. 2022
This exhibition proposes a dialogue between Sacred Music and the Visual Arts and was inspired by the book Um Século de Música Sacra na Madeira [A Century of Sacred Music in Madeira], by João Arnaldo Rufino da Silva (Madeira, 1934-2016), which includes a set of drawings made by the artist Eduardo de Freitas (Madeira, 1955) from the interpretation of the main themes of the liturgy and devotion listed in the inventory.

The connection between these two artistic expressions is amplified in this exhibition. Thus, from the universe of Music, an attempt was made to make known an increasingly forgotten instrument, where many of the musical scores, from the aforementioned book, were certainly played. This is the harmonium, used in local churches between 1850 and 1980. The set of examples on display shows the constructive and aesthetic diversity, of European and American origin, seeking to highlight the importance of its safeguarding, within the scope of an extended inventory to be continued in the Diocese of Funchal.

From the multifaceted artistic work of Eduardo de Freitas, in addition to the set of original drawings included in the aforementioned book, other works from his artistic career in the field of drawing and painting are presented, which not only reveal a particular relationship with the soundscapes, or the musicality in the visual composition, as well as, through this exhibition, he initiates a particular relationship with the sphere of the sacred and the religious.

— Eduardo de Freitas
Eduardo de Freitas was born in Funchal, Madeira Island, in 1955. In his artistic activity, drawing and painting stand out. The artist is associated with the foundation and promotion of several cultural and artistic projects in Madeira. He has exhibited regularly since the late 70s, holding exhibitions in partnership with Isabel Santa Clara, Filipa Venâncio, Jacinto Rodrigues, João Dionísio, Carlos Valente, among other personalities.

João Pinharanda mentioned, in 1993, on the occasion of the 1st individual exhibition by the artist A Água, o Corpo, a Casa [Water, Body, Home], that Eduardo de Freitas’s painting has been marked by expressionist references, of figurative achievement of great academic perfection, by surreal situations and by deconstructive and abstracting ruptures.

In 1999, regarding another solo exhibition, Os Sonhos de Demiurgo [The Demiurge Dreams], Carlos Valente said that Eduardo de Freitas “recreates the latent force of matter, the energy that shapes the world, through spatial and temporal rhythms of natural cycles and rhythms” using “plastic strategies that translate growth, reproduction, transfiguration, osmosis, and other archetypal processes”. Still in his words, Valente says that the artist reconciles “the mystical and the rational being in one”, orchestrating, in a unique way, a “fusion of the objective and subjective dimensions of reality, in an abstract / concrete game”.