Ricardo Hage de Matos
Since 2006
Works in SãO Paulo Brazil

PORTFOLIO (6)
BIO
Ricardo Hage de Matos was born in 1965 in Sao Paulo city, Brazil.

His interest in art and fascination for the amateur radio and electronics led him, still in adolescence, to know the first computers and produce his first work in computer graphics (1985). Frustrated with the image quality produced by digital printers available at that time resolves to study classical artistic languages such as the drawing. This interest will take him to join the architecture program at FAU/ Universidade de São Paulo.

Attended all optional courses at the Visual Communications department studying with Mauricio Nogueira Lima, Claudio Tozzi and Décio Pignatari. He also studied Art history with Aracy Amaral. Take part at that moment in several ExpoFaus. Joined an experimental textile art exhibition at Casa Rhodia. Begins to discuss in his art works questions focusing the technological aspects of aesthetics.

At the Architecture course (TGI 1988), directed by Giancarlo Gasperini, presented a project of a city planned for 3000 inhabitants located on the Moon (City of St. George). In this project perverts the NASA technology to achieve aesthetically designed spaces. The project is recognized as the first exo non-urban housing project done in Brazil.

In 1990 begins studies at the Interdisciplinary Theory field as a researcher of GEPI - Group of Studies and Research in Interdisciplinary at PUC / SP under the guidance of Ivan Fazenda. Founded on Interdisciplinary theory proposes a project for the Brazilian Antarctica Base (1991), where the problems of buoyancy of the structure are solved by a formal approach to the harmony of design.

Ends the Masters in Education: Curriculum at PUC / SP in 1992 and started working as a teacher at the Fashion and Visual Arts department at Santa Marcelina College. At that moment begins a deep search on the bitmap vectorization of images as a support of his visual language. Working with a PC 286, a monochrome display and a dot matrix printer, digitalizes low resolution images using a hand scanner and thus began a series called CyberDivas.

The presentation of this series causes uncomforting: much of the criticism accuses the work as a Pop Art clone based only on a surfacing formal reading. Overcoming the criticism from a philosophical reflection continues to search in that language and solves the problem working on clipped images of São Paulo found on postcards (series CyberSampa, 1997).

In 1999 presents with Carla Fazenda and Manolo Perez the exhibition 2000: Images of the Future, developing the issues representating the future imagery created during the twentieth century. For the first time uses computer graphics vector together with the bitmap image. In this works the pure digital image and the graphite hand drawing are mixed in a single image file. The works are printed in very large format and exercises the relation between the artist and his pictorial space.

After that, in a new phase, begins a search on visual simulation. Studying software the artist begins to simulate primarily a series of watercolor techniques and ways technologically defined. Prints the works in ink-jet paper, creating a new way of handling these materials and registering your research in CNPq. Soon begins to understand this work within the framework of the engraving language, inspired by its reproducibility as a clue to their nature.

Taking this reflection to the extreme presents the CyberLitho series (2000), digital pictures simulating the various existing forms of engraving and the use of color and no color.

Founded the Center for Research in Art and Technology at FASM (2001) and starts the project "Production of Technological Image." In this project produces videos and digital photos discussing the relationship between Brazilian culture, technology and image. Also deploy the Workshop of Art and Technology with the Apple platform.

The interdisciplinary experience of Ricardo Hage as an artist and educator in art technology is the leitmotif of his Doctorate in Education: Curriculum (PUC / SP, 2003) entitled "The Sense of Praxis in Education and Research in Visual Arts: An Interdisciplinary enquiry."

In 2005 starts to work with the collective group of video art ElectroHipnose participating in the production of works that explore image, sound and imagination.

In 2006 starts the site organization "Teleportation Art at Teletransport.org," project focusing on research of the future of the visual arts. Fully produced in English the project Teleportation Art will explore this question in an intercultural focus.

In 2007 builds the Center for Art and Technology visual presence in Second Life platform and participates in the inauguration of FILE Labo. It also helps the creation of the Electronic Journal Interdisciplinary and Culture.

In 2008 started to cooperate as counselor at FILE Labo, Electronic Language International Festival Media Lab, São Paulo.

Currently Ricardo Hage continues to works at FASM where is professor at the Visual Arts Research Program, a pioneer project that count on him as one of the idealizers.