Eduardo Bragança was born in Massarelos, Porto, in 1974.
He began working on art seriously in 2006, after gathering work for three years in an unused bathtub at home. It was after he couldn’t walk into the bathroom that he decided to put an end to that problem. How? Exhibits. The first exhibition was, in his own words, “like a popcorn stand”; he sold everything up until the time to go home, with a client still looking at his work while wrapping the last pictures. After that, the process became more serious, having received, in that same year, two invitations that promoted the work and the name of the artist Eduardo Bragança: the invitation to be part of the video archive of the cinematheque of Portuguese plastic artists; the second, the invitation to exhibit and sell works in Greece, allowing for his modest aspiration of a plastic artist.
He defines himself artistically as an expressionist, urban and naïf, being influenced by the small verses, and the colourful textures of the big cities. He considers himself as self-taught, even in the dissemination and sale of his works, being somewhat resistant to the work of great galleries. In 2006, due to the success of a sale in Athens (a work over 2 meters by 1.60 in height), he realised that his work could take him even further if he aimed at greater disclosure. To test his theory on the spontaneous appreciation of his work, he contacted one of South Africa’s most prestigious architectural firms, SAOTA; the result was surprisingly positive, and ended in a compliment from one of the company’s CEO. With this example, he set out in Portugal to work with some of the most respected Art buyers, in Porto and in Braga, responsible for selling many of his works to private clients – ranging from Angola, London, Brazil – and gradually realised that a market as emerging as the Brazilian could be quite enticing. In 2014, he moved from Porto to Curitiba, where acceptance has been growing and fast, being invited to several displays, special projects and exhibitions. Although he feels that working as a gallery owner or as an artist is harder in Brazil – as Europe has an older and more rooted culture regarding visits to museums, art appreciation, acquisition, and purchase -, he sees Curitiba as the most European spot in Brazil, having been receiving numerous artistic proposals.
Today, more distant, he sees Porto as the city that he “always wanted to see one day”. He believes he somehow contributed to this tourist revolution of the city when, in 2008, he created a project called “Guia Sentido”, that mapped the city in a pocket guide, motivating people to know the new places of the city, for residents and tourists , distributing these maps through the airport, hotels, hostels, commercial spaces, etc.
Fortunately, nowadays, physical distance doesn’t stop us from reaching what we want to see, appreciate, and buy. At www.eduardobraganca.com, he receives orders from customers all around the world. If you prefer and are visiting or passing through Brazil, you might find this Porto born artist of the World, in Curitiba, likely at the gallery Zilda Fraletti.