[2] In the following year he was one of the founders of the Surrealist Group of Lisbon, together with António Pedro, Cândido Costa Pinto, Fernando de Azevedo, Mário Cesariny and José-Augusto França, among others.
Marked by an accentuated erotic character, endowed with great formal and chromatic sensuality, Vespeira's painting uses a lexicon of contrasting, round, pointed shapes, which allow him to cross metamorphoses of the female body or explicit sexual allusions with evocations of the animal world and vegetable.
According to Emília Ferreira: "In a game of themes evoking ritualizing situations, we will see the emergence of the bodies of women with large round breasts, vulvas, erect phalluses, birds, flowers, horns ...", like in his famous paintings Parque dos Insultos (Park of the Insults) (1949) or Simumis (1949).
In the following decade Vespeira re-approaches the original surrealist universe (in the 1980s he also uses collage), in works where he relapses on ancient themes and recovers "the sensual view of the world, in its familiar hybridism", crossing the contours of the landscape and the music with the lines of the female body.
[6] His long history of work in graphic arts and resistance to the Estado Novo continued after the overthrow of the dictatorship on April 25, 1974, leading him to actively collaborate with the Armed Forces Movement.