recent works

installation view: Primavera, Galeria Nogueras Blanchard, Barcelona, 2022
all photos: Roberto Ruiz

grafting, 2021
wooden sculptural fragment (probably Flanders c1600), tree branch
120 x 60 x 80 cm

fox song (light), 2021
sculptural fragment (Portugal c1900), plaster, electrical components
40 x 40 x 40 cm

ghost, 2021
epoxy resin, white peacock feathers
45 x 20 x 20 cm

hand (Mercé), 2021
wooden sculptural fragment (Portugal 1700’s), camelia
140 x 60 x 50 cm

wounded bird, 2021
sculptural fragment (gilded wood, France, late 1700’s), vanadinite crystal, card box
32 x 49 x 23 cm

Atlântico, 2021
suitcase, polyurethane, plaster, paint, mussels, limpets, barnacles, epoxy
70 x 50 x 50 cm

Leg (fox), 2021
sculptural fragment (painted wood, Portugal, c1700), mussels, pvc
photos: António Jorge Silva
installation view: Casa da Cerca, Almada

pôr-do-sol, 2021
plexiglas, eletric components
50 x 50 x 15 cm

lua, 2021
plexiglas, eletric components
100 x 100 x 15 cm

installation view: Le volpi, Galleria Umberto di Marino, Napoli 2021
all photos: Danilo Donzelli

Innesto / grafting, 2021
painted wood, France or Flanders, early 1600s), platanus branch, plexiglas
157 x 55 x 45 cm

Sonnambula / sleepwalker, 2021
mussles from the Atlantic and Mediterranean sea, steel, epoxy resin
157 x 155 x 45 cm

Chemical sweat, 2017 (detail)
plexiglas, vaseline
175 x 30 x 30 cm
Sibilla, 2021
Seashell, spirit (grappa)
14 x 17 x 17 cm

Fox song, 2021
sculptural fragment (plaster, Portugal, c1900), quartz, plastic
123 x 27 x 35

Mezzanotte / midnight, 2021
mussles from the Atlantic and Mediterranean sea, steel, epoxy resin
110 x 50 x 50 cm

Liverpool Biennial 2021

Alien Kin 2
Mussels, peacock feathers
33 x 20 x 23 cm

André Romão e Lourdes Castro
A sobra da Raposa, 1966-2020
Lourdes Castro, Ombre portée de Hanlor, 1966
Lourdes Castro, Ombre portée de Michael Nickel, 1968
Lourdes Castro, Ombre portée d’un sac du marché, 1966
Lourdes Castro, Ombre portée de Milvia Maglione, 1967
Lourdes Castro, Ombre portée de Maurice Henry, 1967
André Romão, Heavy foot, 2020
André Romão, Eye /shell, 2020
André Romão, Hand (for Lourdes), 2020
André Romão, Little dancer, 2020
André Romão, Armadilha, 2020
installation view: MAAT, Lisboa
photo:Bruno Lopes

Heavy Foot, 2020
bronze, cut flowers, greenery
20 x 25 x 13

hand (for Lourdes), 2020
wooden sculptural fragment (england, date unknown), branch of lemon tree, plexiglas
166 x 100 x 50

little dancer, 2020
plexiglas, mussels, limpets
65 x 40 x 30

pearl, 2020
goat’s jaw, river pearl
10 x 15 x 18
installation view: Galeria Vera Cortês, Lisboa
photo:Bruno Lopes

demonic possession / erotic self expression, 2020
sculptural fragment (plaster, England, 1980s), cut flowers and greenery
120 x 40 x 28

alien kin 1, 2020
beetles, mussels, limpets, peacock feathers
29 x 17 x 24

armadilha, 2020
cardbox, fox
13 x 20 x 13

flora, 2019
Sculptural fragment, flowers
100 x 50 x 30

Sleeping nymph, 2019
Sculptural fragment (Portugal, late
20th century), coral, plexiglas
75 x 40 x 60 cm
photo:Bruno Lopes

(tomorrow there will be no flowers), 2019
printed polyester
200 x 140
the un-public, 2019
Poster (Calvin Klein corporation, 1993), shell
20 x 70 x 50

jeans, 2022
jeans, flower
100 x 40 x 15

installation view, Garcia Galeria, Madrid, 2019
photo: Roberto Ruiz

Pierna izquierda, 2019
sculptural fragment (wood, Portugal, early 20th century), pheasant feathers
26 x 44 x 7

Pierna izquierda, 2019
sculptural fragment (wood, Portugal, early 20th century), pheasant feathers
26 x 44 x 7
pie, 2019
plexiglas, sculptural fragment (plaster, after de antique, Spain, 2019), flowers
120 x 80 x 30

Cabeza (el hambre del monstruo), 2019
sculptural fragment (plaster, England, 1980s), Quartz geode, monster munch box
70 x 50 x 40


Now that I have your attention, 2019
Wood, digitaly printed posters
260 x 90 x 90
installation view: Museu Berado, Lisboa
photos: Bruno Lopes

tramonto, 2019
plexiglas, computerized lighting system
120 x 200 x 600 cm

gerador, 2019
Electric generator, pollen of Acacia saligna and Acacia pycnantha
65 x 45 x 45

Ricinus communis

Of bodies changed to other forms I tell, 2019
Four channel sound installation, text com-posed from fragments of Ovid’s Metamorphosis, performed by Penny Rimbaud and Eve Libertine
listen to it on vimeo!

1:1 scale model of the satellite Po-Sat ?1 / Réplica à escala 1:1 do satélite Po-Sat ?1, 1993
Courtesy of / Cortesia do Laboratório de Óptica, Lasers e Sistemas da Faculdade de Ciências – Universidade de Lisboa (Laboratory of Optics, Lasers and Systems of the Faculty of Science – University of Lisbon)


FAUNA-17Guest, 2019
Upright display cooler, 450 series, Courtesy Olitrem S. A.
Wooden funerary statuette, Egyptian, Middle Kingdom;
wooden funerary statuette, Egyptian, New Kingdom;
ceramic oinochoe, Greek, Middle Bronze Age;
ceramic aryballos, Corinthian, Archaic;
ceramic aryballos, Corinthian, Archaic;
bust in terracotta, Greek, Hellenistic;
ceramic jug, Roman (?);
unguentarium in glass, Roman, Imperial Period
Courtesy National Archaeological Museum, Lisbon by Donation of Ana Hatherly

testa, 2019
Geode, patinated plaster sculpture (Italy, ca.1950), dirt
19 x 25 x 20 cm

ear-coral, 2019
plaster, coral
18 x 24 x 20 cm

noite, 2019
Painted plywood
180 x 90 x 90 cm

armadura, 2019
Iron, acrylic glass, mussels
177 x 75 x 78 cm


Agave Americana


sunrise, 2019
4k video, black-and-white, sound on videowall
06:40 min. loop
watch it on vimeo!


box, 2018
Card box, mussels, limpets, paint, resine
27 x 32 x 45 cm


abundância, 2018
xerox print on wall
minimum size 140 x 150 cm
installation view: Galeria Vera Cortês, Lisboa
photo: Bruno Lopes


installation view: Fruits and Flowers, Galeria Vera Cortês, Lisboa
photo: Bruno Lopes


head-sculpture-rock, 2018
plexiglas, sculpture fragment (Portugal c.1950), limpets, barnacles, mussels, coral
120 x 160 x 30 cm
installation view: Galeria Vera Cortês, Lisboa
photo: Bruno Lopes



column-beetle-snake, 2018
plexiglas, beetles
120 x 160 x 30 cm
installation view: Galeria Vera Cortês, Lisboa
photo: Bruno Lopes


four poems, 2018
text, vinyl on wall
68 syllables
installation view: Galeria Vera Cortês, Lisboa
photo: Bruno Lopes


habitat I, 2018
hatitat II, 2018
plexiglas, limpets
maximum 160 x 200 x 200 cm
installation view: Galeria Vera Cortês, Lisboa
photo: Bruno Lopes



Upper torso, 2017
sculpture fragment (portugal, 1936), plexiglas, plaster, limpets, mussels, coral, barnacles
165x50x40 cm
Chemical sweat, 2017
Plexiglas, vaseline
installation view: The Lobster Loop, Monitor Gallery, Lisbon
photos: Marco Pires

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Scalp, 2017
Plexiglass, sculpture fragment (Portugal c.1950), limpets, mussels, barnacles, plaster, acrylic paint
installation view: ways of the hand, Galeria Maisterravalbena, Lisboa
(Iman Issa and Joana Escoval in the background)
Photos: Bruno Lopes

wasp1wasp3wasp2 Sunset, 2016
Plexiglas, sumatran wasps (HYMENOPTERA SP)
175 x 50 x 50 cm + 200 x 78 x 100 cm
installation view: The monster dresses in Mirrors, Syntax, Lisboa
photos: Bruno Lopes


installation view: Sunrise, García Galeria, Madrid
photo: Roberto Ruiz

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Sunrise (Odontolabis Dakmani / Henry Moore’s Stinged figure) landscape, 2017
Sunrise (Odontolabis Dakmani / Henry Moore’s Stinged figure), 2017
Sunrise (Odontolabis Dakmani / John Chamberlain’s Scotch Vapour), 2017
Sunrise (Cyclommatus Pasteuri / Emilio Greco’s Donna sdraiata), 2017
Sunrise (Theodosia Rodiguezi / John Chamberlain’s Scotch Vapour), 2017
digital prints on paper
35 x 45 cm or 45 x 35 cm each

A set of staged images where a group of Beetles from the forests of Indonesia and the Philippines inhabit sculptures by Henry Moore, Emilio Greco and John Chamberlain. In this fictional dystopian future, migrations forced by ecological catastrophes generate unpredicted encounters in hostile environments. The fragile bodies of the insects are set against the heavy metal of the much-larger sculptures, the natural and the man-made, the dead and the living, the heavy and the fragile collide.


Sono arrivato in Sicilia con una penna e un coltello, tre giorni dopo ho deciso di usare appena il coltello (I arrived in Sicily with a pen and a knife, three days later I decided to use only the knife), 2015
marble capitel (sicilian, mid to late 1500’s), pexiglas plinth from Stanza della seta and plastic sheet, Agave americana var. Americana, Agave americana var. Marginata, Opuntia ficus-indica
variable dimensions
installation view: Palazzo Milio, Ficarra
A set of objects borrowed from local museums were used to display american species naturalized to the italian climate. The Plants were collected near Plazzo Milio. At the end of the exhibition all the elements were returned to the place they were collected or borrowed from.


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Dead Eye (bronze head), 2014
set of 81 identical colour slides temporized to blink at the speed of a human eye,
acrylic glass plinth
dimensions and duration variable
installation view: MACRO – Museo d’Arte Contemporaneo di Roma

andré romãomacro_roma_V14© Luis do Rosario

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