Architecture degree (FAUTL, Lisbon)
(…) Miguel Navas groups his drawings by series. All of them comprise a series of successions of events that, if you like, we can call stories. It is precisely this chain of episodes that lead the artist to operate in one way to the detriment of another.(…) As a general rule, Navas’s works originate in a positive movement, which is then contradicted by another that faces it. (…) As far as the positive movement is concerned, and while not forgetting the deviations from the norm that are expected of an artist who compulsively faces his work, we can say that Navas makes use of different means in the sense of make a first inscription on paper; this serves both self-portraits and landscapes (…)
Starting from a model that exists in a reality other than that of a sheet of paper, what the artist carries out is no more than one of the thousand possible translations between what his gaze apprehends and the possible language in the drawing plane (. ..)
because, in our view, the creative movement extends from the beginning to the end of the work process (…) This is its perpetual condition: that of becoming a face or a tree. (…) In the landscapes, something very similar happens: if the initial inscriptions lead these works towards an appearance that, in a peaceful way, brings them closer to a group of trees (a forest?). (…) One way or another, nothing is ever safe, this seems to be the idea behind Miguel Navas’ body of work.