He lives and work in the Oporto (Portugal), with a university education, degree in Fine Arts in Oporto University. Performs individual and collective exhibitions since 1999 in various galleries.


The work of Nuno Raminhos consists of a fusion of several domains of interpretation and representation, becoming a hybrid painting, misplaced in relation to the academical canon law and propitious to discussion. It is a process in which the author considers equally both popular (pictorial techniques, styles and iconic motives of cartoons), and erudite languages (citations from the Art History).


This artist’s paintings consist in a small contribute to the redefinition of the concept of objectivity of the represented figures, building itself from clichés  it subverts, reinventing them in a new symbolic universe, turning them fickle concerning to the objectivity of the conceptual content.


The objectivity concept is also perhaps a redefinition of Nuno Raminhos’ painting, since his work could provoke questions regarding its authorship and originality. These aspects may raise greater reflection when we analyse his works.


The execution of these paintings is born of a ludicrous manoeuvre in which the main outline is simulation. With the intention of having fun, the author creates an apparently “artificial” painting, formed by pre-existent motives and graphic techniques that are very impersonal.


One of the more relevant characteristics in Nuno Raminhos’ work, still concerning subjectivity, is the childish universe that definitely marks his painting, appealing to pictorial motives from this type of literature and from cartoons.

This way of looking at the world is well-founded by the painter when he says: “My memories from childish happiness are traumatic reports of a time forever lost. My delicate paintings are trespassed by the illusion of childhood and innocence, of an easy and protected existence”. This way, it’s easy to understand that the author’s stimulus come from visual sources full of fantasies, dreams and optimism, to shape his imaginary.


Risking a brief remark about the subversive character in Nuno Raminhos’ work, we can say that beyond the development of an apparently “artificial” painting, like we’ve said before, others are the aspects to be pointed at, such as:


• Attenuation of borders between pictorial manifestations from popular and erudite culture;

• Representation of the incoherent, neglecting any kind of traditional visual unity;

• Recreation of meanings to pre-existent motives.


The “optimistic force” is easy to conceive from Nuno Raminhos’ paintings.  With its vibrating colours, to the dark outlines of the characters drawings (emphasizing their presence), without forgetting the expressions and emotions these seem to transmit, allow us to watch it as an eminently “positive” painting.



"He got a fight" acrylic on canvas 130x110cm

"Omnipotência" acrylic on canvas 180x100cm

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Mara Alves PortugArt Founder

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Supported by The Portuguese Embassy