In 2008, fascinated with the aesthetic possibilities of symmetrical patterning and tessellations, he shortened his moniker and began redirecting his focus towards working with and reinterpreting the language of traditional tile design, and that of the Portuguese tin-glazed ceramic azulejo in particular.
If, on the face of it, his work in small- and medium-sized tile panels, large-scale stencil-painted murals, and print editions might seem simply a pastiche of classic formalism, a closer inspection rewards the viewer with a chaotic world of unequivocally original motifs and characters brimming with irony and humour.
Creating balance and harmony from symmetrical repetitions, a build-up of layers and techniques of visual illusion such as trompe-l'œil, his multi-layered patterned compositions produce a poetic rhythm that plays with the viewer's perception and the (multiple) possibilities of interpretation.
Exploring a wide range of both manual and digital techniques in the fields of drawing, painting, ceramics, and printing, his practice expresses a sophisticated dialogue between the old and the new, between heritage and modernity.
"At the time, I received the invitation to cover an entire building with a giant printed canvas and my idea was to develop an illustration piece that would represent me as an inhabitant of my city, being the festival in Cascais."