All Beauty Must Die is an ongoing project. Begun in 2009, it had its first presentation in February 2010 at Berardo Collection Museum within the photo prize BESphoto. This exhibition presented photos, videos and posters with pop songs’ lyrics and English romantic poetry of the nineteenth century. During the exhibition the museum installed a mural for the viewers to leave their comments about the exhibition. The decision to integrate these texts left by anonymous visitors advanced to a second phase of the project: editing a book referring to fanzines and working out the idea of calligraphy as image.

"Suddenly, this landscape, which previously seemed so peaceful, so innocuous, so “natural”, becomes charged with something that has to be mistrusted, an echo that gives greater depth and blackness to the darkness of the undergrowth. (…) [And] this iconography of an idyllic and romantic youth seems to become frozen in its own iconic death. It’s as if these photographs had somehow stepped outside of time, as if they anticipated and simultaneously told a very ancient story, an original myth, of peace and universal beauty, a paradise…"

Patrícia Almeida/David-Alexandre Guéniot (interview).

"Portobello, generic name evoking a vague Latin exoticism, a city or a region (Italian? Spanish? Corsican? Portuguese? Brazilian? Mexican?), a hotel, a night club or a colorful cocktail on a list of drinks: Portobello (yellow), Eden (blue), Flamingo (rose, of course), Acapulco (green), Florida (red). Portobello, a place of seasonal intensification like a trademark (Portobello™) synonymous of Eternal Summer where what counts is to live the experience of that exoticism".

David-Alexandre Guéniot.

"Locations is an on-going project started in 2000 based on photographs of general views of urban spaces, which try to picture the relationship between people and territory. Walkers-by are intercepted en route or caught in action: we do not know where they are coming from nor where they are going to, nor what they’re doing nor why they’re there. Yet they seek a presence in what surrounds them, as if it were a wide open-air movie set, a sort of Cinecittâ inhabited and crossed by extras".

Patrícia Almeida.

"The photographs in No Parking rely on the main elements of the urban landscape (buildings, roads, streets, crossings, railways, etc) to enforce a graphic abstraction and a static quality to the image. These are all signs of a geometric understanding of the urban territory - the wire crisscrossing the sky and intertwined around the electric poles, the pedestrian crossings pattern undermining the pedestrians' movements, the concrete foundations of the monorail shaped as an elongated double-S, the stamp collection-like hundreds of windows all over a building. As if one placed an empty canvas onto the landscape, creating the set for the action about to happen. Like a spider’s web about to catch a fly. Or like a music sheet where one jots down notes and bars: presto for the haste of the man crossing the street while another one walks ahead andante, the rallentando of the woman climbing the steps, the moderato of the two school uniform-clad girls strolling with hands on their backs, the allegro ma non troppo of the youths turning around the corner where the day’s last sunlight falls on. (...) The title of this series plays on a slight change of perception – it is not that stopping is forbidden (no parking) but that movement must last (keep moving)". David-Alexandre Guéniot