"In the Artistic Work of João Rodrigues you can distinguish the new paradigms of modernity. These paradigms pass thanks to the generalisation of the esthetic to the daily life and thanks to the absorption of the cultural phenomenons, of which the hybridity caused by the diluation of the organic, the mecanic and the digital is the most outstanding.
       The modernity brought new approaches to the materials. Lavoisier, chemist of the 18th century, defended allready that "...in nature, nothing is created, nothing is destroyed, everything is transformed...". That is what João does in his artistic compositions, with his hands and his mind... From the corporal world he grafts the "inutile appendixes" and recreates new corporations or , better, corporalities. The tonality, the relief, the density, the lines and the forms of some of his (re)creations reveal a dissonant universe, of which the synthesis or harmonisation of the senses is transformed to the incorporal, lead by the perceptive and oniric instances of the observator, who is in the best case also an artist if he doesn't observate vagely or ineffectually...

       In conclusion, in the work of João Rodrigues the inversion of a certain esthetic model is obvious: To turn the inutility(s) into utility(s), in the sense that the expierience can be esthetisated by an innovative and conceptual approach that is expressed in a brief and tender ecology of the senses. Like this, the artist becomes himself.

       Everything that is utile should be beautiful. And everything that is beautiful should be utile. If Wilde was living in the 21st century he would certainly have said that all the art is perfectly utile..."

João Nuno Teixeira