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In the hallowed halls of Portuguese tradition, the art of azulejos stands as a colorful testament to the nation's rich cultural tapestry. Since the 13th century, these ceramic tiles have bedecked the walls of Portugal's sacred spaces and stately abodes, weaving tales of history and faith in intricate patterns and vibrant hues. Yet, in this age-old narrative of royal courts and divine decree, Adilson De Oliveira emerges, disrupting the status quo with his bold brush strokes and unorthodox vision.

 

Hailing from the Portuguese South-African enclave, De Oliveira flips the script on azulejos, injecting the working-class heroes of his community into the mosaic of Portuguese visual culture. With a deft hand and an AI-fueled imagination, he conjures scenes of everyday life - carpenters pausing for a smoke, laborers lost in contemplation - immortalizing the struggles and triumphs of the common man in a medium once reserved for kings and saints.

 

Vasco Da Gama and company make way for the unsung heroes of his community, as De Oliveira transforms azulejos into a canvas of social commentary, challenging the entrenched hierarchy and exclusivity of Portugal's artistic heritage.

 

The title is borrowed from Hugh Masekela's, 'Vasco De Gama (The Sailor Man). With its vibrant blend of jazz, funk, and Afrobeat rhythms, the song embodies Masekela's signature sound, characterised by infectious grooves and spirited brass arrangements. Lyrically, "Vasco De Gama" delves into themes of exploration, conquest, and cultural exchange, using the historical figure of Vasco De Gama as a metaphor for the complexities of colonialism and its impact on African societies.

 

Through his brushwork, De Oliveira not only elevates the voices of the marginalized but also reclaims a symbol of national identity for the Luso-African diaspora, forging a path towards inclusivity and empowerment in the mosaic of Portuguese culture.

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This series of work is still ongoing.