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15 pieces by Lilia Pegado
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12000
FEMALE / MALE NO. 2
 
12000
IT No. 2
 
12000
IT NO. 3
 
12000
IT NO. 4
 
200
SPIRAL - ON THE LAP OF THE GREAT WOMAN
 
12000
THE CENTRE NO. 4
 
12000
THE CENTRE NO. 5
 
12000
THE WAY TO OBRICANDA NO. 1
 
12000
THE WAY TO ORBICANDA NO. 2
 
12000
THE WAY TO ORBICANDA NO. 3
 
12000
UNTITLED NO. 1
 
12000
UNTITLED NO. 3
 
12000
US (IN THE UNIVERSE) NO. 1
 
12000
US (IN THE UNIVERSE) NO. 2
 
12000
US (IN THE UNIVERSE) NO. 3
 
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Lilia Pegado Paintings
Biography Born: Luanda, Angola, Africa, May 2, 1954.Moved to Portugal: 1975, following Angolan IndependenceMoved to UK: 1990London exhibitions :1999 - Canning House, London, UK - Pump House Gallery, London, UK 2001 - Tate Local - Stockwell Library, London, UK2002 - gf2 Gallery - Soho, London, UK2006 - Kings Road LibraryProjects: 1999 - 2000 - The Plural - painting project with children - 1999 - 2000 - O Quadrado - art project with children from the Portuguese classes in London8. 12. 2000 - Co-founded The Crystal Cube Society
 
Education:
Self taught
 
Artist's Statement:
I sit on the floor in cross legged position, the white canvas on my lap supported on the other side by the sofa - lightly up, 35 degrees. I dive into the canvas. With a brush I begin with one quadrangle and other follows it and other and other. They make a line. I follow my hand. The hand knows when to turn, when to stop. Always without stretching the body to which it belongs. Always in comfort and trusting.For a better understanding of this work I have to mention Alan W. Watts in the book The Way of ZEN Chapter 4, ZEN IN THE ARTS (page 193, 195). "The point is rather that for Zen there is no duality, no conflict between the natural element of chance and the human element of control. The constructive powers of the human mind are no more artificial than the formative actions of plants or bees, so that from the standpoint of Zen it is no contradiction to say that artistic technique is discipline in spontaneity and spontaneity in discipline. Paradoxical as it may seem, the purposeful life has no content, no point. It hurries on and on, and misses everything. Not hurrying, the purposeless life misses nothing, for it is only when there is no goal and no rush that the human senses are fully open to receive the world. Absence of hurry also involves a certain lack of interference with the natural course of events, especially when it is felt that the natural course follows principles which are not foreign to human intelligence. For, as we have seen, the Taoist mentality makes or forces nothing but 'grows' everything. When human reason is seen to be an expression of the same spontaneous balance of yang and yin as the natural universe, man's action upon his environment is not felt as a conflict, an action from outside. Thus the difference between forcing and growing cannot be expressed in terms of specific directions as to what should or should not be done, for the difference lies primarily in the quality and feeling of the action. The difficulty of describing these things for Western ears is that people in a hurry cannot feel." Lilia Pegado
 
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