Luís Soares was born in Mozambique and we have to search the roots of his work in that nation of Africa's eastern coast. The creaking pureness of colour, the fancy of line, the stylistically lengthen of shapes, the expression of masks and faces, have much of the early wisdom of the African art. But, in 1978, he returned to Portugal, his parents' country, where the need of a new rooting forced him to close to the western art. The patches and textures, the predominance of the dynamis which distinguishes the work and the interest by the improvisation that impels him to explore the line - conclusive at ceramics -, as was done by Klee and Miró, with a descriptive intent, when it is a contour, but also as definitor of rhythms and organiser of spaces. Black and with changeable thickness, the line is the real dominant of Luís Soares' art. .

The lines that is always the hand's destination, sometimes drawing anthropomorphical shapes, then flowing at random, losing itself into the flourish, or finding itself into the sign - magical and ingenious. .

In the sculpture, you see the same lanky and worn-out figures, with a tragical expressiveness, by what they presuppose of passiveness. A passiveness that is alike the one that goes into our houses through the video - images of a starving continent and its people, doomed to die in a skeletal rambling, through trails of barren dryness. .

In the ceramics, you have the lively and intense colours, dropping on the smooth surface of the stoneware, tears gliding; blue, green, pink... producing one amalgam of tones that the fire has baked. .

They are unlike but they complete one another. Luís Soares, white outside, black inside, artificer of fire and artist of the line. Multiform personality, sometimes baffling; hands navigating between the drift and the intended track, through the space of the bearing.