In the begining, it were the almost caricatural crowds, memory of a time lived in Mozambique and that fails to fade, then came the labyrinthine compositions, with lines crossing and meeting more tacitly than explicitly. Now, Luís Soares, a multiple and prolix artist, reached the simple and double masks, surrounded by linear elements, which go from direct oppositions of the acry-lic tube to the use of more primitive colours. .

Executing most various works, from ceramics to pain-ting and sculpture, as someone who enjoys a serious game, Luís Soares, in spite of the natural several influences, has acquired a style of his own, which dis-tinguishes him in the actual Portuguese artistic scene, thanks to an informalism simultaneously objective and subtile and also to his descriptions both transparent and affective. Playing with such a copious and exuberant production, without losing, though, the sense of aesthetic equilibrium, his painting is essentially marked by the pleasure of a celebration that life should be, reaching generally an enormous visual impact, resembling more to parts of a continuous "show" or even to a permanent "happening". .

Transforming a certain late form of cubism in a fortunate encounter of materials and processes, where the spaces are fulfilled with several references, his compositions acquire more and more cosmical meanings as they perceive the spatial structures. .

Of the expression, he took the more liquid style - proved by the fluency of his pictorial writing -- and of the lyricism he chose the consistency of the gestural expression, obvious in all his figuration work, managing, that way, to associate lines and points, which were born with a established goal and end by being integrated in other nuclei of attention. .

Using a wide range of materials, prefering though the paper, especially the home made one, Luís Soares - whose presence in international expositions, from Ghent, Belgium, to New York, and in many other art fairs, has become more and more regular - follows a trajectory of growing success, not only because of the prolixity of his production, but particulary due to the wise and intelligently aggressive way he is promoting himself. .

Working especially with the power of emotion and of communication, Luís Soares benefits also of the advantage of maintaining, in several aspects, a certain autonomy, that distinguishes what comes from inside from what is produced in the surface of images, which gives his work an ethic, half rea-lity, half idea, that reaches one only model, capable of reviving interior covers and emerging the reasons of his ego.