4 MOVEMENTS is the result of my moving from the upper floor of the house (Record no.1) to the small area where the fishwife was to be found. From then on the movements were produced solely by the fishwife, my role being simply to record them.

ON THE MOVEMENT(S): the 4 movements, clearly, do not represent the whole development of the action and trajectory that followed (shown in the records), in other words: the moving of the fishwife from the grass to the stone area, but also all of the movements that the whole process involves, knowing that a movement corresponds to another movement in the direct reaction of the bod(its) and having the fish as the centre of the action.

ON THE WORK: the placement of the fish on the oilcloth / the fishwife / in direct relation to the environment, e.g.. the establishment of the direct momentary relationship with the air / space where she is to be found: with the objects / the stone / the grass / the sand / the bushes / the shadow / the architecture / the doors / the window panes / cement / GAS / BUCKET / tube / FLOWERS / OXYGEN. On the establishment of the perceptive relationship. In the daily life of the fishwife (in rain or shine), I see the age-old conditioning of a part of the Portuguese people in their working of the sea and consequent survival through the selling of fish. On the hand that offers and the other that, reticent through the bitterness of life…………receives.

On cultural relations

On economic relations

On political relations

On social relations.