The first contact with my work elicits mainly comments of open expressions of how strange and unexpected it appears, as it tends to expose an unforeseen reality. This is the result of a studied meditation on our insecurities about perception of space and time, significance and meaninglessness, sensations and affections, identity and authorship, of art and its limits.

1 – Series are construed of projects comprising several works subordinated to an idea or theme, which serves as an overall title, and reflects the basic concepts of each one of the series: “time has memories”; “the folds of time”; “intimate”; “instant”; “unlinked worlds”; “pain”; or the current “so far”.
2 – Most of my work, conceived without the constrains of obvious communicational concerns, is basically an experimentation that questions, with the illusion of observation, the well-established expectations and beliefs usually linked to the themes it addresses.
3 – Without referring to architecture, space and time are transversal to the entire work, in its concept – or subversion – by the use of symbols and metaphors. Such approaches as these are intrinsic and crucial to my creative process.
The work does not represent: it is!
4 – Plastic poetry is based on veiled signs and open senses, extending beyond the boundaries or techniques traditionally assigned to the language of Art. In my work all available liberties are considered and may encompass kinetics, multimedia, stereoscopy, optics, mechanics, electronics and magnetism, or other less evident tensions subject to ideas and feelings. Free from preoccupations of formal or exposition demands, their expression justifies itself.
5 – My body of work is multidisciplinary. There are works drawn on paper, mixed media, acrylic on canvas, photography, video, sculpture, installation, site-specific, performance / happening, with grammatical and lexical crossings between the various mediums.
6 – Issues related to identity, creator, authorship and copyright are called into question by some of the works, posted online for download and reproduction, culminating, for several of the past years, with the assumption of the persona vandanuno, during which the identity Nuno Cunha was suppressed.

Of the various thinkers who influenced my artistic researches I particularly acknowledge Deleuze, Leibnitz, Heidegger and Foucault. Concurrently, a strong but subtle presence of Romanticism deserves special reference.
Reading “The Raven” by Poe is a good contribution to the interested observer.

Further information:

Vítor Hugo Leal
Researcher in Contemporary Art History
Investigador Associado em História da Arte Contemporânea do Instituto de História de Arte
Um avariador de máquinas-desejantes
The damager of desiring-machines – For art sake
Arte e Criticismo para além da Coisa
Art and Criticism Beyond the Thing
Tensão e desejo: o desenho reinventado

Miguel Fernández Campón
Curator (Sur Noir, Museo Nacional Centro de Arte Reina Sofia, FORO SUR); Máster Filosofía, Especialidad Pensamiento Contemporáneo; Doctor en Historia del Arte; Master Museología y Museos
En Open Studio

Manuel Rodrigues
Regente de Estética, com o curso anual Imagem e Semelhança, no Ar.Co (Centro de Arte e Comunicação Visual)
Nunca um lugar abandonado

Rui Miguel Cepeda
BA Arts Management; MA Cultural Studies
Sem título

Diva Morazzo
Mestre em História da Arte