Carmo Pinheiro de Melo

In my practice I reclaim the ancestral arts and techniques from a modern position. Pieces made by women that are generally associated with the domestic environment. Why is textiles often seen as a hobby, while woodwork is seen as professional practice?

So, it’s not crafts in general that are undervalued but specifically crafts made by women. There have been movements before that brought the crafts to light, like the Arts and Crafts movement and the Bauhaus, but they all failed to acknowledge crafts made by women within their settings. Nor for that matter, Portuguese craft.

I want to give it the value that it deserves. I want to give the craftswomen and generations of people that make a living from these trades the recognition they deserve. I've known plenty of male artisans in my life, but not enough female ones. My work takes a feminist perspective on cultural craft traditions and women’s roles in the art world.

Yes to hand-made and Yes to history-crafted.

Throughout my practice I use symbols that represent the relationship between women and craft, creating a history of meanings within the tapestry. I weave together traditionally feminine elements like the flowers and curved lines, while exploring and respecting the historical similarities with Arabic designs of the cornucopias; the elements and colours of Portuguese tiles; and keeping the layout of the traditional 'Arraiolos'.

The grandmothers of our time are the ones who hold and store these craft histories and works of art in their small living rooms. By making the craft into a frame I'm using it as a method of communication. I'm using it to bring attention to what's inside; thus, valuing both the frame and its contents in the process. By re-evaluating the position of craft and where it stands, I'm bringing to light important topics that connect with the devaluation of women in society more broadly. Topics like violence against women.

The subject matter I selected to be the 'King', in this case, was the murder of Sarah Everard and the painful and necessary discourse it raised around violence against women and sexual harassment. These images were taken in the aftermath of the vigil in Clapham Common. They show a strong and quiet scene that tells the story of this woman, and many women. Intense yet very respectful during the day, this sits at odds with the violent reaction of the police to vigil attendees later that evening. I wanted to give the scene the feeling of a still life painting that delivers a punch of meaning.

We are Dougal Verinder Gedge, Carmo Pinheiro de Melo and Louise Gholam. Together we set up RCA VisCom’s radio station Export Radio.

WHO?

Our station is Internet-based and led by Experimental Communication (School of Communication) students at the Royal College of Art of London. We curate weekly showcases of music, conversation and interview, collected from both RCA students and further afield. This sonic satellite is an opportunity to re-invigorate the public through worldwide collaboration and discussion, whilst also building bridges in a post-Brexit, mid-Covid-19 environment.

We curate weekly showcases of music, conversation and interview, collected from both RCA students and further afield. Intertwined within the Art/sound scene of today, Export aims to observe experimentation through an International lens.

WHAT?

Used as a knowledge-sharing and collaborative platform, Export Radio offers a parallel space for students to reflect on WHAT they are learning about, but especially HOW they are taught at the RCA. In the context of the Work in Progress show, students felt the need to find a more humane and interactive way to share their work, their concerns regarding the institution they are studying in but also their professionalization. WHAT WILL HAPPEN NEXT, once we leave the RCA?

Following this thought, the team at Export Radio has put together 3 breakfast sessions which will feature performances, roundtables, Q&As… It will offer students another format for visibility, getting their voices heard within and outside the ‘walls’ of the RCA.

These sessions will be run during the satellite event for Visual Communication at the Ugly Duck!  XXX

Both events will be hosted on Export Radio’s website : www.exportradio.club

For more information and updates you can contact us on instagram: @exportradio or via email: exportradiosubmissions@gmail.com

VISUALS BY: Louise Gholam

CURATION OF THE SHOW BY: Carmo Pinheiro de Melo

Following the success of our RCA2021 WiP Show events, we are preparing a Sonic Yearbook! 

The platform aims to be shared as a legacy project for the Visual Communication cohort at the RCA thanks to this communal publication. 💿💿💿

This collectible includes a collection of CD’s containing auditory work, accompanied by a booklet showcasing students' artifacts documenting their ‘graduation environments’.

HOW?

Following this thought, the team at Export has put together a 3 Breakfast Sessions which will feature performances, roundtables, Q&As… It will offer students another format for visibility, getting their voices heard within and outside the ‘walls’ of the RCA. To close-up the Final show week, Export is organising an AFTERPARTY open to all! 

During this time we will be recording our Sonic Yearbook! Due to be finished in July! Sign up for your copy on our Kickstarter! http://kck.st/3yAUBoG

We’re looking forward to ‘hear’ from you and meet you on our audio-visual waves!

Tune in soon!

Both events will be hosted on Export Radio’s website : www.exportradio.club

For more information and updates you can contact us on instagram: @exportradio or via email: exportradiosubmissions@gmail.com

VISUALS BY: Dougal Verinder Gedge