2025 DRAW | Portugal Consulate, Seville, Spain

In his performances, Tomaz Hipólito explores the intersection of the body, painting, and moving image, creating an expanded field where the pictorial act takes on a new dimension. One of his most distinctive approaches emerges when he paints directly onto video projections, establishing a tense and poetic dialogue between the ephemeral and the physical, between light and matter.

In this gesture, Hipólito is not simply painting on a surface: he intervenes in a continuous flow of images, appropriating projected time as if it were canvas. The video projection becomes a shifting, intangible base upon which the artist inscribes physical marks, brushstrokes, smudges, gestures, that interrupt, obscure, and redraw the visual narrative in real time.

His body, present in the scene as both agent and witness, merges with the image, and the act of painting becomes performance.

This practice prompts a critical reflection on the boundaries between the real and the represented, between documentation and intervention. Painting here is not an end in itself, but a means of confrontation: with space, with time, with the image, and with the viewer. By painting on light, Hipólito asserts the materiality of art in an increasingly immaterial world—while simultaneously exposing the fragility of the artistic gesture in the face of digital fluidity.

More than representation, these performances propose an experience: a site of tension and presence where one sees, hears, and feels the creative process as a living event.