about / sobre
   

     
     

    Eneida Lombe Tavares (Barreiro, PT) did her MA in Product Design
    at ESAD.CR (2014) .
    Currently works in Caldas da Rainha.
    Meanwhile she formed Estúdio Mulato with Jorge Carreira,
    colaborates with Vicara and Estúdio Caldas da Rainha.
 





   

         


     
       
      contactos / contacts
      For comissions and sales
      eneidatavares@eneidatavares.pt
      (+351) 91 750 74 61    
exhibitions / exposições




Processo, Experimenta Design, Lisboa (2011)

 
New Talent Exhibition, European Ceramic Contest, Grønbechs Gaard, Dinamarca (2014)
Terra Collection for Vicara, at Arquivo 237, Lisboa (2014)
Terra Collection for Vicara, Maison et Object, Paris (2015)
Ventura Lambrate Milan Design Week, Crowdy House (2015)
LEVE, São Paulo Design Week (2015)
Multitude, do ideal ao possível., Caldas Design Week (2016)
Handle with Care, Show Me Gallery, Barcelos (2016)

Não apenas lugares de felicidade, Museu Nacional dos Coches, Lisboa (2016)
Wild Things, Kortrijk Interior Biennale, Bélgica (2016)

Primeira Escolha, Molda Bienal , Museu José Malhoa, Caldas da Rainha (2017)
Glass Cares, OFF Portugal, Ventura Lambrate (2017)
Exit II, Molda Bienal, Caldas da Rainha (2017)
Polaroid, Lisbon Gallery Design and Architecture, Lisboa (2018)

12 conversas em torno de 12 projetos em cerâmica, Espaço da Concas, Caldas da Rainha (2018)
Tanto Mar, Jardim Botânico Tropical, Lisboa (2018)
Homo Faber, Michelangelo Foundation, Veneza, (2018)
Handle with Care, Instituto Camões, Luxemburgo (2018)
Núcleo Duro, Experimenta Design, Lisboa (2018) 
Ex-Óptico. Sala Farinha, SILOS Contentor Criativo (2019)
e
CARUMA
014 >


















Ceramics and basketry have walked side by side without really crossing each other.
In this context arises Caruma, a series of vessels, containers, formed by a mixed technique – earthenware and basketry - demonstrating the possible relationship between two different construction fields, creating a relationship of dependency between them. On the one hand the earthenware with a strong tradition in the specific context in which the project was carried out (Caldas da Rainha, PT) and on the other the Angolan basketry - where part of my roots come from - particularly the sewed coiling technique. This two materials create a relationship that is familiar to us; basketry that is lasting to the daily scale, earthenware that is the historical range. It is intended the intercultural dialogue that mixes closeness to what is far away.


Materials: Earthenware; Pine Tree Needles; Raffia
Photography: Pedro Cá
(first pic from Francisco Salis Gomes)

























EX-OPTICO
018 >







Visual fragments.
Ex colonial expeditions.
Afropean relocations.
















TISSAGEM
016 >
Patterns explorations.
Pieces made from second choice products.
Irregularities may be found. Or not.


Bells of Ireland®

The idea of it has never occurred to us, simply because of its supererogation.

We saw no need of the impulse — for the propensity. We could not perceive its necessity. We could not understand, that is to say, we could not have understood, had the notion of this primum mobile ever obtruded itself; — we could not have understood in what manner it might be made to further the objects of humanity, either temporal or eternal.













COMPANHEIRO
014









Among the cultural differences from place to place,
the concept of individual and collective, public or private,
clearly reflectes the way people act in social life.
Companheiro - from latin cum panis :
the one with whom we share the bread - is an attempt to response this two dichotomies, individual / collective, public / private, in a very particular act which is to be at the table. The memories and family stories, were the theme for this reflection.














ASSENTO
014
















Continuing the same construtive logic as Caruma but this time with
a different material, scale and typology.
With a body scale, Assento suggests another way of being,
of relaxing.


Photography: Pedro Cá








Bells of Ireland®

The idea of it has never occurred to us, s

imply bgugu
ause of its supererogation. 

We saw no need of the impulse — for the propensity. We could not perceive its necessity. We could not underst

and, that is to say, we could not have understood, hae notion of this primum mobile ever obtruded itself; — we
ld not have understood in what manner it might be made to ther the objects of humanity, either temporal or eternal.