Guilherme Atanásio (b. 1998, Lisbon) is a Portuguese abstract artist whose practice is rooted in spontaneity, intuition, and a deep engagement with the present moment. He began painting in 2018, approaching the medium with no formal training and developing his visual language through continuous experimentation. What started as a personal exploration quickly evolved into a committed practice, shaped by an instinctive understanding of color, gesture, and composition.
In 2021, after completing a master’s degree in Electrical and Computer Engineering, Atanásio made the decisive transition to pursue art full-time. This shift marked the beginning of a period of rapid development, as he refined his technique and expanded his thematic interests. Working from his studio in Lisbon, he creates vibrant and dynamic pieces characterized by fluid movement and layered chromatic textures. Although primarily abstract, his works often reveal subtle figurative or surreal motifs that emerge organically from the painting process.
Central to Atanásio’s approach is the belief that art is a form of presence—an act of capturing the immediacy of emotion and gesture. Each work becomes a visual record of the moment in which it was created, echoing his philosophy of embracing uncertainty and the spontaneity of lived experience. Through bold contrasts, rhythmic lines, and atmospheric depth, his paintings invite viewers into a space where abstraction becomes both expressive and contemplative, bridging the boundary between inner reflection and the external world.
What first drew you into painting in 2018?
I started painting on a cloudy day in Sintra, when I found an old set of gouache paints I had kept since I was a kid. I had never really painted before and decided to try it on a random sheet of printer paper. The painting came out terrible, but I loved the physical feeling of the brush on the paper. That was enough to make me want to keep going.
At the time I was in my second year of engineering, surrounded by numbers and logic, and painting felt like a completely different space — more free, more instinctive, without any expectations. It became an escape from the structure of university, and before I knew it, I was painting every day.
⸻
How does your engineering background influence your work today?
In the beginning, it influenced me a lot. I made pieces using pendulums, gravity, movement — very experimental and technical ideas that came straight from an engineering mindset. It was a mix of curiosity and play.
Over time, that connection faded. Today I barely think about engineering when I paint. What stayed is the way of thinking: logic, organization, structure. The mathematical side is part of who I am, but it no longer shows up directly in the work. My paintings now come much more from intuition, physical movement, and the moment itself.
⸻
Do you have any daily rituals that help you get into a creative state?
Reading helps me a lot. When I read, I create the images myself, and that activates my imagination in a way that ready-made images don’t. Music does the same — it sets the tone and gets me into the process.
I also often start by painting something simple, like a background or a loose layer, without any intention behind it. It’s like a warm-up. It puts my body in painting mode, and after that, ideas begin to appear naturally. It’s a way of unlocking my mind through movement.
⸻
What would your ideal day dedicated to art and culture in Lisbon look like?
I’d start in the studio in the morning — that’s when I feel the most focused. After lunch, I’d go see an exhibition or an opening. I like talking to other artists, seeing what they’re working on, and staying connected to the art community here.
Lisbon has great museums and collections, so I usually visit one whenever I can. In the evening, I’d watch a film at the Cinemateca. It pushes me out of my usual references and lets me absorb different ways of thinking and creating. For me, a perfect day is a mix of making art, seeing art, and taking things in.
⸻
What do you hope viewers take away from your paintings?
I want people to feel something honest and grounded — a lightness, a sense of presence. Most of my work comes from that state, and I try to let it show through the colors and gestures.
I’m aware that life isn’t always light, and I don’t expect my work to hide that. But I do believe the way we look at things shapes how we feel about them. If someone looks at one of my paintings and leaves with a small sense of ease or a positive shift, that’s enough. I don’t want to dictate interpretations — just create space for people to find something that feels good to them.
