C  a  r  l  o  s  B  a  r  ã  o +351 912090598 carlosbaraomail@gmail.com f

2015 - 2018

2010 - 2014
2005 - 2009

2000 - 2004


Lisbon, 1964.
History of Art, Design/Communication and Psychology at the University Nova of Lisbon
at the Lisbon Higher Institute of Applied Psychology.

C O L L E C T I O N S / M U S E U M S / P U B L I C - A R T

Art Museum of Coimbra. Portugal

 Art Museum. Keflavik, Iceland

Banque Privée BCP. Swizerland

Burj Khalifa Building. Dubai, Unite Emirates (public art)

Champalimaud Foundation. Portugal

Cultural Centre of Almancil. Portugal

Cultural Centre of Grindavik. Iceland

Emmaar International. Dubai, United Emirates

Financial Club of Vigo. Vigo, Spain

 Insurance Company Tranquilidade. Portugal

Local Government of Leiria. Leiria, Portugal (public art)

Municipality of Keflavik. Iceland (public art)

Municipality of Leiria, Portugal (public art) President of the Republic of Iceland´s Official Residence

Institute of Applied Psychology, Lisbon, Portugal

Siemens Group

International Contest Dubai Art Symposium 2005.

Second Prize. International Jury.



S O L O   E X H I B I T I O N S


Trema Gallery. Lisbon


Art Gallery House of Culture. Setúbal. Portugal


Museum of The Moving Image. Leiria. Portugal (jun-ago)

Art Gallery Arquivo. Leiria. Portugal. (jun)

 Art Gallery ISPA.Lisbon (Papers)  Portugal



 Art Gallery Trema. Lisbon Portugal 

Art Gallery ISPA (Paintings). Lisbon. Portugal


Bank of Portugal / City Hall of Leiria. Leiria, Portugal


Art Gallery Valbom. Lisbon, Portugal

Art Museum of Coimbra. Portugal


Mivagallery, Malmö, Sweden


Art Gallery Sete. Coimbra. Portugal


Art Gallery Valbom. Lisbon, Portugal

Art Gallery Sete. Coimbra, Portugal.

Art Gallery Pedro Serrenho. Lisbon, Portugal.

Art Gallery Vale do Lobo. Vale do Lobo, Portugal


Art Gallery Espaço Tranquilidade. Lisbon, Portugal


Cultural Centre S. Lourenço. Almancil, Algarve, Portugal.

Art Gallery Pedro Serrenho. Lisbon, Portugal


Siemens Academy. Lisbon, Portugal.


Bank of Portugal / City Hall of Leiria. Leiria, Portugal

Cultural Centre S. Lourenço. Almancil, Portugal

Art Gallery Pedro Serrenho. Lisbon, Portugal


Siemens Academy.  Lisbon, Portugal

Art Gallery Pedro Serrenho. Lisbon, Portugal


Cultural Centre S. Lourenço. Almancil, Portugal

Leiria´s Castle. Leiria, Portugal


Art Museum Reykjanes. Keflavik, Iceland

Art Gallery Vale do Lobo. Vale do Lobo, Portugal

Art Gallery Pedro Serrenho. Lisbon, Portugal


Bank of Portugal / City Hall of Leiria. Leiria, Portugal

Opening of Art Gallery Contemporarte/New Space. Leiria, Portugal

Opening of Stadium Magalhães Pessoa. Leiria, Portugal


 Cultural Centre of Grindavik. Grindavik, Iceland

Art Gallery Pedro Serrenho. Lisbon Portugal


Galeria Ofíciios do Tempo. Lisboa 




G R O U P  E X H I B I T I O N S




DRAWING ROOM LISBON. National Society of Fine Arts. Trema Gallery


JUSTMADRID 2019. International Art Fair of Madrid. Gal. Trema


JUST LX . International Fair of Lisbon (may)

 Marqueses da Praia e Monforte Palace. Estremoz. Portugal. 

Art Gallery Trema.  Lisbon Gallery

City Museum of Estremoz. Portugal


Estampa / Internacional Art Fair of Madrid. Art Gallery Trema. Madrid. Spain.


Cultural Centre La Despenada. Villanueva de la Cãnada. Madrid. Spain

City Hall of Corunha. Cultural Department. La Corunha. Spain.

Amostra Gallery. Maia. Portugal

Art Fórum. Maia. Portugal


 Gallery Valbom, Lisbon. Portugal

 "L´image du Sud". Bussines Center of Perpignan. Perpignan. France


Art Gallery Valbom, Lisbon, Portugal

Art Gallery Pedro Serrenho, Lisbon, Portugal


 International Fair of Lisbon 2011. Art Gallery Valbom

Art Gallery Valbom, Lisbon, Portugal.

Cultural Centre S. Lourenço. Almancil, Portugal.


 International Fair of Lisbon 2009. Art Gallery Valbom.

Art Gallery Valbom. Lisbon, Portugal

Azores Academy of Arts. Azores, Portugal


 International Fair of Lisbon 2009. Art Gallery Pedro Serrenho.

Cultural Centre S. Lourenço. Almancil,  Portugal


International Fair of Lisbon 2008. Art Gallery Pedro Serrenho.

Art Gallery L'Olympe. Perpignan, France.

Cultural Centre S. Lourenço. Almancil, Portugal


 International Fair of Lisbon. Art Gallery Pedro Serrenho.

Bussines Center of Perpignan / Art Galery l'Olympe.Perpignan, France

Cultural Centre S. Lourenço. Almancil, Portugal

Art Gallery Pedro Serrenho. Lisbon, Portugal


International Fair of Lisbon 2006. Art Gallery Pedro Serrenho.

City Museum of Coimbra. Coimbra, Portugal.

Cultural Centre S. Lourenço, “25º Anniversary”. Almancil, Portugal


International Fair of Lisbon2005. Art Galley Pedro Serrenho.

 International Art Symposium / World Trade Center.Dubai, United Emirates.

Art Gallery Pedro Serrenho. Lisbon, Portugal


Cultural Centre of Figueira da Foz. Figueira da Foz, Portugal

Opening of Art Gallery Pedro Serrenho/Oporto. Oporto, Portugal

Art Gallery La Factoria Perro Verde. Madrid, Spain

“Arte Lisboa 2004”. International Fair of Lisbon.

Art Gallery Pedro Serrenho. Lisbon, Portugal


Financial Club of Vigo. Vigo. Spain

Art Gallery Contemporarte. Leiria, Portugal

“Europe Art Languages”. Spacio-Laboratorio del Liceo Artístico. Milan, Italy

Art Gallery Pedro Serrenho. Lisbon, Portugal


“Europa: identitá e linguaggio a confronto”.

Cultural Centre of Rozzano. Milan, Italy

Cultural Department/City Hall of Borba. Borba, Portugal


Opening of Art Gallery Pedro Serrenho/Lisbon. Lisbon, Portugal


Art Gallery Jean Pierre Masset. Paris, France

Glóvis Salgado Foundation. Belo-Horizonte. Brasil

Art Gallery Manuel Macedo. Belo-Horizonte. Brasil

Art Gallery San Ildefonso – La Granga. Segóvia, Spain





"The art of outsmarting the shadow.

writings on the face and the reverse of the creative process"

 Carlos Barão, 2020

Estuário Edit.


Catalogue of the Exhibition "ME"
ISPA Gallery , Lisbon



Catalogue of the Exhibition
"Paisagem. O Elogio da Solidão"
 Art Gallery Valbom. 2014


"Carlos Barão. Pintura"

Preguiça Magazine / online.
Text: Carla Alexandra Gonçalves.

30 April 2014

Interview in "Jornal de Leria"
Elisabete Cruz (text), Ricardo Graça (photos)
10 April 2014 - pag.8 and 9



"Carlos Barão - O Parentesco das Coisas"
Rocha de Sousa In "Jornal de Letras".
nº 1063, 29 de Junho 2011 - pag. 26  


Catalogue of the Exhibition

"O Parentesco das Coisas"
 Art Gallery Valbom. 2011  



Catalogue of the Exhibition
"Atenção Flutuante"

Art Gallery Espaço Tranquilidade
. Lisbon 2010



“Carlos Barão - Escritas Remotas”
Rocha de Sousa In "Jornal de Letras".
nº1006, 22 de April 2009

Book “Carlos Barão - Paintings 2009”

Text of Hugo Dinis. 2009


Catalogue of the Exhibition
Art Gallery Olympe. Perpignan. France. 2008

atalogue of the Exhibition “Modo Narrativo"
Art Gallery Pedro Serrenho.
Lisbon 2006 

Book "25º years of Cultural Centre of S. Lourenço". 2007

Book “Carlos Barão - Paintings 2007”
Bank of Portugal/Municipality of Leiria. 2007 

Catalogue of the Exhibition “Projectos
Art Gallery Pedro Serrenho.
Lisbon 2006 

 Antena2/RTP - Interview.
"Molduras". August 2007

Catalogue of the Exhibition “Biografia de Cão”
Art Gallery Pedro Serrenho.
Text of José Manuel Ciria. 2006 

Book “Estádio”
Painting and Photography.

Text of José Manuel Ciria,
Isabel Damasceno and Fernando Mota.

Catalogue of the Exhibition “Patchwork”
Cultural Centre of S. Lourenço. 2005

Catalogue of the Exhibition.
Reykjanes Art Museum – Iceland

Text of Margarida Salet.

Catalogue of the Exhibition
“Dinâmicas a Partir do Inevitável”

Cultural Centre of Figueira da Foz.
Text of Augusto Carvacho. 2004 

Catalogue of the Exhibition “P.K. 630,7: Madrid-Lisboa”
Art Gallery Factoria Perro Verde/Galeria Pedro Serrenho.

Texts of Augusto Carvacho and Marta de Catalina Blasco.

Catalogue of the Exhibition “Inventário de Dias Felizes”

Art Gallery Pedro Serrenho.
Text of Gil Maia. 2004

Catalogue of the Exhibition “Encontros em Vigo”
Finantial Club of Vigo. 2003 

Catalogue of the Exhition "Andamento".
Contemporarte Gallery. Leiria. 2003

Book “Relicário”
Bank of Portugal/ Municipality of Leiria.

Catalogue of the Exhibition “Quase Tudo Sobre Rodas”

Galeria Pedro Serrenho.

Text of Constança Metello de Seixas. 2002 

"Europa: identitá e linguaggio a confronto"
Edition European Commission, Culture Program 2000. Italy. 2002 

Catalogue of the Opening Exhibition.
Galeria Pedro Serrenho
Lisbon 2001 

Book “Leiria/Belo-Horizonte. Um Encontro de Culturas”
Texts of Mário Soares, José Aparecido de Oliveira, Carlos André,
Ângelo  Oswaldo Santos, Isabel Damasceno. 2000


What does the artist see and feel in his own work?

 In this series of works, Carlos Barão places himself as an observer who leaves the canvas and looks in from the outside, turning this gesture into a projection of the contemplating recreator. This is the path he unveils, the painting no longer the painting, and becoming just the noun, “Me”. In this way, he experiences other skins, other perspectives, uncentering himself from what conditions him, opening spaces, of another gaze and another creation. The constant effort to surpass himself, to create by recreating himself, to question, is evident, creating a new angle from which to observe himself. He sheds the acrylic, the canvas, the form, the color that grabs and molds us. He creates himself. What do I feel when I see myself? Who am I? What’s assumed is the idea that, in the moment we distance ourselves, embracing ourselves and others, we embrace a greater reality.

 Despite all of the freedom expressed in the production of these works, we can say that there was a starting point for most of them. In a very personal way, not exempt from the contemporaneity in which we live, Carlos Barão reinterpreted the series of illustrations by Goya, in the 18th century, named “Los Caprichos”, where he illustrates a strong satire of the Spanish society of that time. From this “trigger”, a Universe would reveal itself on the canvas, like a journey to a past made present.

 The vision of the one writing this text is, in turn, the result of a journey into the universe of Carlos Barão, in an attempt at grasping the work and the author within, getting acquainted with his spontaneous truth. It’s a fragmented, and yet, singular view, since it is born from the premise given by the artist that “Art is the communication of the unconscious of who produces it, and the unconscious of those who enjoy it”.

 Far from facilitations and from letting himself be conditioned by the aspects of the expected, Carlos Barão dares to expose, for all to see, his being, with himself and in his relationships with others, breaking away from a predictable historic and cultural context, transformed into Art. As the author says, “there is only beauty in the relationship with affection”, and this beauty exists in the purest of truths that encloses him and is offered in each of his works. Not letting himself be closed off by what other artists create, he brings us a new language, even if a plural language, seeing as his paintings are contemplations of the world that surrounds him and constant break-aways that consolidate a very personal identity. We navigate between the rationality and the pure manifestation of the freed unconscious.

The creative process of the author does not go through sketches, or pre-defined plans. He does not let himself be conditioned by his own course, avoiding, in this way, the predictability and providing fertile ground for the appearance of the unpredictable. This freedom, that reigns, lies close to spontaneity, bringing with it surprise and fascination, putting the artist in an oscillating and constant perspective between the realization and the enjoyment of his own work. A painting does not undo another, and it is, instead, a puzzle of one unique work that imposes itself. They are facets of a clear journey of personal transformation that manifests itself in constant colors: red and black, light gestures of freedom, of breaking away with the pre-established, sort of controlled depending on the work. To our gaze, which is conditioned by perceptive aspects, a challenge is issued, for us to oscillate between different dimensions and planes, entering into the work and the problems that are exposed in it. These pieces can also be viewed from the inside out, if we center ourselves in what’s most distant and if we try to understand the rupture the artist has made. What questions does it bring us? In what answers does it induce us?

 Finally, in the pieces without a title, which have no interpretative help, we can also rest our gaze; it is an appeal to our imagination, to our creativity, and, at the same time, a request that we become recreating observers, in a web between desire and dream. In this way, the artist gives us back our own freedom, giving us space to question. Beauty is always found in the interconnection between the work and the observer’s eye. It does not solely depend on the piece.

The challenge lies before us…

Teresa Almeida Rocha

Catalog of the Exhibition "ME". Ispa Gallery. Lisbon. Portugal. 2017




...) CB has, in a consistent manner, based his work on the continuous reflexion of the unconscious which characterises his artistic expression. This, one could say, is due to his academic studies in History of Art and Psychology but, as he himself prefers to see it, his studies have only helped him to place the problems in perspective, as it is a lot more interesting and enriching to find yourself with unexpected questions - “the questions that arise when we struggle over a painting on a day to day basis, in search of answers”. (...)


It resembles a continuous activity, as the work of art takes shape, with blots and colours interacting, revealing the thoughts of the artist. However, it is not only the thoughts of the artist that counts, says CB, as every painting also extends an invitation for the observer to get involved in identifying and interpreting the forms and contents which, according to the artist, are the reflexion of the spectators own inner life.(...)


CB already has an extensive body of work but insists that each painting is like a paragraph in a long and infinite reflexive text. In this respect, the artist confirms that if a painting takes on a too large importance, the greater is the cloud covering it and the harder it will be to find the path, where it wants to lead us to. (...)

Júlio M. Vaz, "Carlos Barao", Press Release Gallery Miva, Sweden. 2012


(...) If we really persist, Carlos Barao will talk about his paintigs. His reluctance stems from one thing only. According to him, however hard he tries, he is left with an unhappy feeling that what is most important has yet to be said, leaving a clear sensation that Art is an expression of delusion of one thing and truth which is in everything. (..)

Without preceding studies, each painting is completely unique; attributed to an instant, the instant of the image’s creation. Referring to what he calls new projective blots, the artist starts by distributing various blots over the work surface. At first we do not see a chromatic relationship, formal or aesthetic, between the elements  on the canvas; however, slowly and progressively, we begin to observe that these parts are establishing a dialogue, just as if distinct  ideas organize themselves to form a whole thought. Familiar patterns appear, manifesting themselves individually or, alternatively, they merge together with other patterns creating a progressively stronger and obvious dialog. Many times inspired and seen through the simple and objective perception of a child, suggesting uncomplicated figures, even archetype, the compositions merge and invariably draw attention. (...)

Carlos Barao, suggests that we for a moment should leave behind the logical, formal, paradigmatic thinking and instead in a more contemplative way use our narrative thinking. Without  finding it strange, each image will suggest that we involve it in our personal experience. In this instant, for one instant, there is an acrylic love - the painting is part of us and we are a part of the painting.

M.Vieira, "Amor Acrílico", Press Release Gallley7, Coimbra. 2011



Carlos Barao incomplete narratives which the painter executes by means of capturing short excerpts of longer texts, congeal a finite moment that will grab the attention of even the most distracted spectator. Sealing on his canvases references to comic strips, citing incognito posters or writing down lost sentences, the artist seems to want to tell a tale – perhaps a fairy tale – that transcends his own life. As a result the on-looker is invited to complement the story-in-suspension with his own references and memories. In this way  expressions and images find a completion through lives other than the author’s. The gap between the image and its meaning seems to reside in the personal and non-transmittable ambit of each of us. (...)

The paintings of Carlos Barao speak an apparently inaccessible language, like the feeling of something intimate and strange – Das Unheimliche according to Freud.  As they simply present – not represent – every-day objects, each of the pictorial works expresses a reminiscence of lost childhood, of complicated attainment. Whereas the representation suggests a collective memory, the presentation reaches and strikes the individual memory. Thus, upon reflection of our personal recognition of objects that accompanied us during our childhood, the paintings of Carlos Barao show what is of primordial importance in our relationship with each of the mentioned objects: the grief and the pleasure of loss and of reencounter.

Carlos Barao attempt  - by means of collages, spontaneous or more controlled brushstrokes, the juxtaposition of different elements, the apparently wild flings at the canvas, the rough stroke – to elevate the common objects to the memories and feelings that each of us internalise. The unchanging narratives to which the paintings refer are intended to appeal to and grant the onlooker a better way to understanding.

The pictorial narratives are defined in opposition to the literary or cinematographic narratives. In the latter, the narrative requires a certain time, always linear, which is imposed by the object and has to be spent by the spectator who sometimes will require the help of figure-of-speech like flash-back or anachronism. In painting the linear narrative is substituted by the incidental in which the spectator determines from the beginning the time he dedicates to each image. Literature and cinema, on the one hand, are built on the basis of different elements and images that are always dominant, in the sense that they pre-determine strictly the time we have at our disposal for appreciation. Pictorial narratives, on the other hand, are built up on the basis of a one and only image that might appear to be dogmatic and totalitarian, but that on the contrary is permissive, in relation to what can be seen and what is told. In the works of Carlos Barao this permeability is constant: not only because the images evolve constantly from the memories of the spectator through reference to childhood drawings, but also because the difficulty in identifying the objects encourages a more imaginative creativity and alludes to a more ecstatic and emotive narrative.

The dialogue between paintings and spectators is neither obvious nor direct. The pictorial narratives are not linear as little as the access is easy to individual memory. In short, the paintings of Carlos Barao are, on the one hand, familiar narratives in the sense that we recognise the objects and stories they represent, but, on the other, strange in the sense that each spectator and the own nature of the paintings complicate the access to the memory they try to evoke: to feel something strangely familiar.

Hugo Dinis, in "Something Strangely Familiar II", in Cat. Galley Pedro Serrenho, Lisbon. 2009


(...) In order not to extend too much or deviate from the essence, I only intend to say that I consider this work superb, well settled, suitable in its composition, and having an absolutely seductive color temperature. (...)

I can see small squares full of elements, roads, constructions, a wall, a square and a cube, letters and texts, symbols and numbers. I can see a path and flowers. I can see a child with a big head and rumpled hair, a figure with open hands, a lady with big breasts. I can see a house and a lake, another child, sister of the first one, runs by. I can see lines and atmospheres, blood and life…

Yes, I can see all that, knowing Carlos that your work is completely abstract, that you don´t need references, that you prefer the search for surprise, for the plastic event, for the adventure of the solution, for the consolidation of a personal and unique language.

Dear companion and friend, what to say standing before you work? For me, it´s a delight and breath of fresh air... Keep painting with what everyone should paint – the guts!

José Manuel Ciria

“Carlos Barão  or the painting taken out of the guts (short affectionate approach to his latest works)”. In  Stadium, 2005.