"When I'm painting, I try not to look at too many things so I don't become overly influenced. But we can't really escape ourselves. There are imaginations from other people that I love. Diogo's work is a colourful combo of Alejandro Jodorowsky's strange filmic palettes, Japanese sci-fi and vintage posters."
"This departure from graphic design to move towards painting is significant, because now the dimensions of heavy layering of paints turns his work into 3D objects. Texture is a big part of works, as seen in Norte que a morte te conforte, where a painted teddy bear's image is disrupted with blue oil sticks that feel like a child defiling a bedroom wall with crayons."
"Whereas most artists study colour theory and abide by the rulebook, Diogo's paintings are lawless, mixing garish colours together, sometimes making figures look like inverted photographs or implementing polar opposites to subvert from the expectations of figurative and object painting. It works because of the innocence Diogo speaks of, a thrash metal candidness that begs to harmlessly offend."
Diogo marks a significant career shift from graphic design to painting, moving away from client-driven work at prominent Lisbon studios. His paintings embrace visual freedom, layering paint thickly to create three-dimensional textured objects. Drawing inspiration from Alejandro Jodorowsky's surreal palettes, Japanese sci-fi, and vintage aesthetics, Diogo's work deliberately disregards conventional rules. He employs garish color combinations, inverted photographic effects, and polar opposites to subvert figurative painting expectations. The work features visible canvas, thick paint globs, and DIY textural elements like oil sticks and paste, creating an innocent yet transgressive aesthetic that challenges traditional color theory and artistic conventions.
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