10 Questions with Miguel Bragança

Michel Bragança (2000) is a painter and artist with a degree in Fine Arts from the Faculty of Fine Arts at the University of Porto (2019-2023). In their artistic practice, there is a need to define who they are as they exist, which has been a constant research theme and a reason for their ontological questioning and introspective process, which in turn are connected to their artistic practice.

They recently exhibited at Espaço Mira (2024), at the Cooperativa Árvore (2023), and at Forum da Maia (2021) as well as at the Faculty of Fine Arts (2023), and have also recently sold a piece to the collection of the Galeria Municipal do Porto (2024).

After completing their degree, they have dedicated themselves to studio practice, exploring how, in painting, then images, when related to each other, establish dialogues that differ from what they are, as well as the creation of narratives from this starting point.

michelbraganca.com | @michel.braganca_

ARTIST STATEMENT

The need to define my being and identity has been an ongoing and fundamental pursuit, one that constantly drives them toward ontological questioning and introspection. This search for understanding, for a clear definition of what it means 'to be,' leads them to reflect not only on their own existence but also on how their sense of self interacts with the broader social world around them. They find that in seeking to understand their 'Being,' they face the complexities of their identity and their place in the world.

The process is not just about seeking clarity or answers but about unraveling how their experiences, thoughts, and emotions become intertwined with the larger fabric of society. They are driven by a desire to discover where their personal truth intersects with the universal, to find those moments of likeness or sameness in the world that reflect back their own lived experiences. In doing so, they create projections of these experiences—artifacts of their existence—that externalize and crystallize the very reasons for their being.

This externalization is both a personal and artistic act: it is a way to affirm their existence in a world that constantly shifts and changes. Through their work, they search for a way to express what it means to exist as a being in the world—how they relate to others, to the spaces they inhabit, and to the many layers of identity that define them. Their art becomes a space where this search for meaning is not only explored but also communicated and shared, offering both themselves and others a way to reflect on what it means to be and how, through memories and signifiers, they are able to produce images that create new meaning and symbolisms.

Trash for a friend, Oil on cardboard, 24x22 cm, 2024 © Miguel Bragança

INTERVIEW

Let's talk about your background. Can you tell us about your artistic journey and how your time at the Faculty of Fine Arts at the University of Porto shaped your practice?

My artistic journey is still in its early stages, both in terms of time spent in the atelier and my experience as a practicing artist. Coming from a cultural background, I have always been immersed in the artistic scene of my city, beginning to draw and 'study' art at a young age. I only recently graduated (2023) and have been producing consistently since; nonetheless, it's still quite a short walk. Whenever I have time, I go to the atelier, continuously seeking out new paintings to create and images to explore, striving to give them meaning.
Reflecting on my time at university, I often say it was an invaluable environment for connecting with like-minded individuals. It provided me with a close-knit group of friends who were eager to engage in discussions and debates about diverse ideas and artistic practices. This dynamic exchange encouraged us to experiment with different approaches, which, in turn, helped me refine my work. It also taught me to view painting as a form of dialogue. A means of holding conversations and creating new symbols imbued with meaning.

Mask I, Oil on cardboard, 20x19 cm, 2024 © Miguel Bragança

Your recent exhibitions and the acquisition of your work by Galeria Municipal do Porto are impressive milestones for such a young artist. How have these experiences influenced your approach to Painting?

Having started my journey as an artist so recently, these past achievements have been invaluable in gaining insight into Porto's art scene and learning how to navigate the process of developing an exhibition. Working with curators, assistants, and technicians has provided not only practical experience but also valuable feedback on how my work is perceived and how it can continue to evolve.
As artists, I believe we must remain aware of the world around us and bring those experiences back to our practice. Even if these encounters don't directly influence the ideas behind our work, they inevitably become part of the process. Every conversation holds significance, and every social interaction can provide unique insights.
I'm deeply grateful to everyone who has supported me or offered opportunities to collaborate or exhibit. Even indirectly, these experiences shape my perspective and subtly influence the way I approach my work.

Your work revolves around defining your being and identity. How did this introspective theme emerge as a central focus in your art?

In my practice, I have consistently sought meaning or concepts to permeate my creative process. While the act of creation has always come naturally to me, the challenge has been in articulating its justification. This struggle has led me to focus on self-reflection as a key area of interest. The search for meaning in my work aligns deeply with the broader question of understanding oneself.
I have come to recognize that, although empathy allows for a connection to others' experiences, a complete understanding of another's perspective remains difficult to attain, just as others can never fully grasp my own. This realization has made introspection a central theme in discussing my experiences.
Because of this, through my work, I aim to construct a kind of personal mythos that invites others to engage with it. Even if they cannot entirely comprehend its nuances, they may interpret and uncover its layers in a manner akin to the ongoing process of self-discovery. In this way, the introspective aspect of my practice has evolved into a means of justifying and affirming my own existence within the world.

Crybaby, Oil on paper, 42x27.9 cm, 2024 © Miguel Bragança

Bone Crushing Excitement, Oil on cardboard, 22.5x30 cm, 2024 © Miguel Bragança

Ontological questioning is a key part of your practice. How do you translate abstract ideas of existence and self into the tangible medium of Painting?

My research into the concept of existence has been both fascinating and challenging. Existence is a broad and elusive subject, difficult to define with precision. Yet, this ambiguity is what makes it so interesting and liberating to explore in my work. Rather than attempting to capture the entirety of existence, my approach resonates with Heidegger's philosophy, which I greatly admire: to allow the work itself to be, to embody its own existence.
Painting has become my chosen medium for translating lived experiences and personal symbols into visual form. My aim is not to represent abstract or universal concepts of existence but to anchor my work in the tangible and certain: my own experiences. Through painting, I seek to craft a narrative. A series of "icons" and moments drawn from life, that builds a kind of existence within the body of my work.
By transposing my experiences onto paintings, I strive to create a persona: a figure who has lived the depicted experiences. This persona becomes a lens through which viewers can engage with the work. When experienced as a whole, the oeuvre invites viewers to piece together an understanding of this 'someone,' fostering a connection that mirrors the complexity of existence itself.

As you mention in your statement, you explore how images relate to each other to create new narratives. Can you elaborate on how this relational dialogue influences the development of your compositions?

I approach my work with a focus on its wholeness; while each piece is in itself already something, I try to consider everything as part of a larger interconnected narrative. My thinking has been deeply influenced by Aby Warburg's approach to history and his innovative use of panels to draw connections between different periods, artists, and cultural expressions. Warburg's method of juxtaposing seemingly disparate elements to reveal underlying themes or ideas resonates strongly with me.
Similarly, I strive to create works that interact with one another, with each image forming a cohesive body that invites viewers to uncover relationships and meanings across individual pieces. This approach allows me to explore broader concepts while grounding them with my own set of symbols, images, and experiences, as I said earlier, when viewed as a whole, it creates a sort of mythos that is my story. By weaving these elements together, I hope to construct a visual dialogue that reflects the complexity and interconnectedness of my human experience to create a projection of my identity.

To repay with kindness, Oil on wood, 62,5x90 cm, 2024 © Miguel Bragança

Your practice often externalizes your introspections into visual artifacts. What role do personal memories and experiences play in shaping your work?

The relationship between my experiences, the memories they become, and the process of translating them into my work is, in many ways, akin to Descartes' first principle. I reference this not to suggest that my experiences are free from assumptions or that my memories are entirely untouched by imagination but rather to highlight the certainty I find in my existence through the act of experiencing. Much like Hume's empiricist method of thought, the belief in having seen or lived these moments grounds my sense of being.
In my effort to understand who I am, identity becomes an essential focus. Deciphering the influences and experiences that have shaped me, looking back, and identifying the symbols woven throughout my life are vital to creating meaningful work. This introspection allows me to construct a personal map of symbols, realized through paintings and ideas, that serves both as an exploration of self and a foundation for my artistic practice.

You've mentioned a desire to reflect on how identity and existence relate to the spaces you inhabit. How do physical or metaphorical spaces influence your creative process?

The spaces I inhabit play a pivotal role in my work because they provide the context in which I exist. These are the environments where everything unfolds, where experiences are lived, thoughts are formed, and understanding begins to take shape. In amplifying the role experiences play in shaping my identity, these inhabited spaces become vessels for those experiences or places for reflection and introspection.
These environments influence the memories and emotions that I later translate into images, which take on a metaphysical dimension to represent the interplay between identity and existence. They act as placeholders for introspection, holding the symbols and relationships that have shaped who I am—a kind of map guiding my self-exploration. In essence, the spaces I explore serve as bridges, connecting personal experiences to broader, more universal ideas.

Your work invites viewers to reflect on existence and identity. What do you hope audiences take away from engaging with your paintings?

When approaching my paintings, I begin with a clear idea in mind, working to shape it into something meaningful for myself. However, I am mindful that these works will be perceived by others, and I don't seek to restrict how they interpret them. While there is an inherent meaning within each piece, which hopes to mold an identity or persona I hope the audience can uncover; I also embrace the idea that individuals from diverse backgrounds and upbringings may perceive the symbols differently, bringing their own interpretations to work. This dynamic creates a dialogue, much like a conversation, which I believe a painting should facilitate.
I aim to craft messages that viewers can engage with and decipher. This is why I consider the act of naming my works an integral part of the process. While I can sometimes assign overarching titles, I also include poetic or cryptic titles to provide additional context for the viewer. By doing so, I aim to guide the audience without confining their interpretations.
Since my work explores themes of identity and existence, I strive to create pieces that encourage people to reflect on themselves and the meanings these images hold for them, fostering a personal and introspective connection.

In your search for meaning through art, what new themes or techniques are you interested in exploring in the future?

I focus on painting as my primary discipline because of its deep personal significance and its rich historical legacy. Throughout history, painting has been a powerful tool for communication and meaning-making. It was used by the Catholic Church to guide illiterate masses through images about biblical teachings and by the Orthodox tradition as a direct medium for engaging with saints and holy figures through icons. Even in prehistoric times, before the advent of writing, humans painted on cave walls to record their lives and experiences. Similarly, hieroglyphs and, in modern times, emojis demonstrate how images have always played a role in how we communicate and create meaning.
In my practice, I often think about how to make these historical and symbolic ideas resonate with people through painting. Nonetheless, I've explored, and hope to expand on in the future, the use of installations. For example, I created an installation of a bedroom—a personal space where we spend much of our time, whether engaging in hobbies, working, or reflecting on ourselves. In this installation, I incorporated painted images to represent my persona in the space. These images conveyed meaning and served as guides for viewers, inviting them to connect with the idea of this being my "room" and, by extension, to engage with the identity and experience it symbolized.

The book of revelations. Allegory to the Four Horsemen War, Charcoal on cardboard, 24x20 cm, 2024 © Miguel Bragança

Lastly, how do you see yourself and your practice evolving in the next few years? What are your goals and aspirations?

The main goal for my future and my practice is to continue exploring and developing these ideas, transforming them into meaningful works of art. While exhibiting in esteemed institutions or public collections is an exciting aspiration, I see such achievements as rewarding milestones rather than the primary focus of my journey.
What matters most to me is the freedom to create without restrictions, following my own path and interests. Having graduated only a year ago, this past year has been a transformative experience as an artist. Although I am not yet able tosustain myself fully through my art, I am constantly seeking solutions to make that a reality. In many ways, this has become a key objective I hope to achieve.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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