Looking for Rita

Looking for Rita
Underdogs Capsule
Solo Show
Lisbon, novembro 2021



An exploration on the manipulation of appearances and the fabrication of images, intimately linked to the metamorphosis of great Hollywood icons. In this case, using the construction of Rita Hayworth, born Margarita Carmen Cansino, who was transformed from a brunette dancer playing roles as a Latina, to an incandescent American muse of the 1940s. A mutation that mirrors the reality of the medium most used by the studio in its artwork: tile, which in turn is a product adapted to industry in order to please a common taste, idealized for mass consumption.



Paintings that depart and return: from the motifs of 17th Century manually painted tiles to industrial tile, and back to the hand-made, now within the decisive lines of the watercolours where blots and colours work together to import the refined and individual details of each drawing. An exercise in the interiorization of motifs, patterns, rhythms, colours and techniques under analysis for future extrapolations within the graphic universe of this collection of industrial Portuguese tile-making.



This body of work comprising twelve watercolours, resulting from work presented during the pandemic for the Underdogs online exhibition, stems from the preparatory drawing for a tile panel edition that will be developed with Underdogs and Viúva Lamego in the future.

in Underdogs website


Lost and Found

Lost and Found
Underdogs Gallery
Solo Show
Lisbon, 2018

“A small, black-and-white photograph found, by chance, in the street, with the inscription “my grandfather” scribbled on the back, served as a starting point for this second solo exhibition by Pedrita Studio at Underdogs Gallery, replete with mnemonic fortuities and poetic instants. Intentionally intersecting the analogue world and the digital world, the legacy of the past and the reality of the present, the series of panels showcased here resorts to their original composition technique based on the use of discontinued industrial tiles following the principle of the pixel or photographic grain.


Inspired by a set of lost (and found) images that capture mundane episodes and various expressions which are certainly familiar to us – from the drollest spontaneity to the most staged of poses –, this meticulous body of work suggests an exercise in contemplation on the ideas of loss and recovery – of our individual memories, of our collective referents, of our cultural and identitarian heritage.

If the authorial gesture that retrieves the original photographs from oblivion is accompanied by a transformative action, reconfiguring them into a new aesthetic format, the act of recovery is equally extended to the medium itself, it too salvaged from nihility and sublimated. The result of this intricate game of regeneration and reinterpretation is materialised here in a kind of open narrative itinerary where each viewer can create, through the potential connections that can be established, or found, between the various elements exhibited, their own stories – assuming that this grandfather and these people could very well be our own relatives and friends.



These analogue images found by chance around the various places of our daily lives contain details and compositions we appreciate and of which, with no measure of certainty, we can only question and try to guess their circumstances. In this limbo of uncertainty which, to us, seems beautiful, we considered a correspondence with the history of the material we have been using in our artistic practice and we crossed the analogue with the digital refined by hand in order to create a series of new abstract-figurative panels.

This meeting between analogue and digital, between images and tiles that were lost and then found, seemed to intersect in many points with the body of work we have been developing: subject and matter that share premises of origins which, provisionally, are undefined; interesting visual compositions for chromatic and plastic exploration; the stories they can develop into; and the new places they can inhabit until being lost again.

Festival Iminente

Festival Iminente Oeiras
Spacial design and festival layout
Oeiras, 2016
Oeiras, 2017
London, 2017



We believed that it was a good ideal to mix in the same festival urban music and street art. Since the first edition, Pedrita studio has been developing the festival spacial design, blending the stages, the art installations, festival services and infrastructures to make it possible.



“Created in 2016, Festival Iminente combines the new music with the new art in an experience of intense collective intimacy. iminente is everything that is happening or is about to happen.

It is the materialisation of a creative movement that, over the last few years, added contemporaneity and creativity to portugal’s artistic and musical scene. a movement that found its stage here.

Curated by Vhils and Underdogs, Festival Iminente translates the creative multicultural atmosphere that is flourishing in Lisbon and is spreading throughout the world, leading the lusophone matrix to establish dialogues with other cultures and artistic expressions.

It is 3 days of expression and artistic provocation with a line-up that represents the cultural vanguard of those who are expanding their art in new directions; challenging, questioning, exploring. celebrating its explosive, urban, vital, ephemeral, and unexpected nature.”


Fernando Guerra — Raio X de uma prática fotográfica

Fernando Guerra — A Photography Practice Under X-Ray
Centro Cultural de Belém
Exhibition Design
Lisbon, 2017


“With the new millennium, architectural photography has gained exponential prominence in the relationship that architects have with society. The FG+SG studio has taken on the challenges presented by the greater media impact of architecture, which today constitutes a photographic practice rewarded with international prizes and recognition. Fernando Guerra’s progressive affirmation as a photographer has accompanied contemporary architectural production and his photo reportages, disseminated worldwide through the virtual platform Últimas Reportagens, offer us a privileged look at today’s architecture. At the same time, his photographic practice responds to the technical evolution that has taken place in photography in recent decades, essentially marked by the full affirmation of the new digital media. This exhibition presents Fernando Guerra’s own distinctive work together with a cartography of the activity of the FG+SG studio, drawing upon its archive of images and highlighting its production processes. By showing his photographic work and the studio’s ways of doing things, Fernando Guerra’s practice is thus exhibited to us as if it had been submitted to an X-ray.”


Luís Santiago Baptista


From 11 July to 15 October 2017


photo by pedro sadio
Installation for Criar Lisboa, with Ricardo Jacinto
Lisbon Feasts 2016



The Miradouro de Santo Amaro offers a stunning panoramic view over the Alcântara valley and the Tagus river, particularly over the 25 de Abril bridge. Although there are a lot of striking geographical and architectural features of the cityscape that stretches out before you, this is a privileged spot to listen to one of the most incredible sounds that Lisbon has to offer: the cars and trains travelling up and down the suspended decks of the bridge. Next to the chapel, a parabolic panel of ceramic tiles acts as an acoustic mirror, determining a focal point on the belvedere from which visitors can listen carefully to the selected soundscape. The ceramic surface has been made out of fragments of hundreds of Portuguese industrial tiles, based on a spectrographic image of the bridge soundscape.



photo by pedro sadio

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azulejosonoro_digital200916_24 photo by pedro sadio

photo by pedro sadio

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Structural Engineering
Tiago Pereira
Ribeiro e Espadinha Lda

Acustic Engineering
Rui Urbano

OSSO Associação Cultural

Photo reportage
Pedro Sadio


Capristanos, café, bar & sala de estar
Interior design consultancy + Tile panel
Caldas da Rainha, 2015


photo credit: Pedro Sadio



Opened since 1949, Capristanos, a Caldas da Rainha icon that shares its walls with the Bus Terminal, has been welcoming who arrives and hosted who leaves the city. A familiar space for the locals and visitors, the caffe has become a place of gathering for everyone.
After its rehabilitation, Capristanos is now also a restaurant whose kitchen supports and relies on local production. Besides setting the interiors of the space, Pedrita studio also designed the tile pannel that portrays Queen Leonor, one of the city’s symbols and founder of its first thermal hospital.


photo credit: Pedro Sadio

photo credit: Pedro Sadio


Debris — Vhils
Exhibition design, with António Pedro Louro
Hong Kong, 2016


Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio Guerra Photo credits: FGSG Fernando Guerra + Sérgio GuerraPhoto credits: FGSG Fernando Guerra + Sérgio Guerra


“A multi-site public intervention reflecting on the nature of urban societies.
“Debris”, the first solo exhibition of celebrated Portuguese artist Alexandre Farto AKA Vhils in Hong Kong is a multi-site initiative that will include an intervention on one of the city’s iconic trams (in circulation from 12 March 2016) and an exhibition at Pier 4 (open between 22 March– 4 April 2016), encouraging visitors to explore the city and reflect on the nature of the urban environment through the lens of the artist.”

in HOCA Foundation website


photo by bruno gomes
Hotel do Convento Salvador
Lisbon, 2016



Convento Salvador Hotel, located at Alfama historical neighborhood, is an adaptation of one of the oldest Lisbon convents. This project supports the activity of Convento do Salvador Centre (which belongs, along with the Hotel, to the Association for Children’s Cultural Promotion – APCC) that operates under the same roof, and is decorated with works of artists such as Ana Hatherly, Paula Rego, Pedro Cabrita Reis, João Pedro Croft, Julião Sarmento, among others.
Looking for paying a tribute to portuguese tiles, Pedrita studio was invited to create a panel for the Hotel entrance hall.
Continuing the work developed with industrial, end-of-the-line tiles and following the same concept as the panels made for Capristanos caffé and Best Guess For This Image solo show, we were captivted by the international uncertainty of the portrayed person, in this case queen Catarina, who would have lived in the convent.

Ensaio para um arquivo

Rehearsal for an archive: time and word. Design in Portugal between 1960 and 1974
MUDE – Museu de Design e Moda
Exhibition design
Lisbon, 2015


Photo credits: Luisa FerreiraPhoto credits: Luisa Ferreira

“The exhibition Rehearsal for an archive rises from a research project coordinated by Maria Helena Souto, supported by the Science and Technology Foundation, co-supported by COMPETE, and developed in partnership with IADE-U, being this another example of the role which MUDE seeks to play in disclosing research and academic studies on design and national productions. Therefore it precedes a work culture, which connects the museum and universities, public institutions and private entities, necessary condition to promote design, creativity and culture.
The exhibition space is designed in order to focus on the written or spoken word of men and women that, in a pioneering way, developed an educational and associative action based on a modern conscience of design practice.Besides featuring original catalogues and major publications, the public may consult their copies, as all the files with the pieces that made up the 1st and 2nd Exhibition of Portuguese Design, held in 1971 and 1973.

The challenge we casted consisted on forming an exhibition-archive or a Portuguese design documentation centre, presenting sources and resources for an historical research on design in Portugal. We speak of an iconographic archive, documentary, audio-visual and bibliographic that the visitor can go consulting along a path, getting to know a time and an ethic, its players and institutions.
This exhibition is also a fair and simple tribute to all and who sought to affirm design as a culture and competitiveness factor, laying the groundwork for its institutionalization and pedagogy or asserted design as a decisive factor in decision-making and improving the development model of our country.
Since it isn’t possible to thank everyone individually, risking any omission, I leave a special word of acknowledgment to Maria Helena Matos for her remarkable role on the assertion of design in Portugal.”

Bárbara Coutinho


Photo credits: Luisa FerreiraPhoto credits: Luisa FerreiraPhoto credits: Luisa FerreiraPhoto credits: Luisa FerreiraPhoto credits: Luisa Ferreira
Photo credits: Luisa FerreiraPhoto credits: Luisa Ferreira

Bárbara Coutinho

Helena Souto

Exhibition design
Estúdio Pedrita

Graphic design

Best guess for this image

Best Guess for this Image
Underdogs Art Gallery
Solo show
Lisbon, 2015 


Photo credits: Bruno Lopes

“Best Guess for this Image: is the result of the work of designers Pedro Ferreira and Rita João, who develop here an aesthetic and investigative reflection on issues of identity, image reproduction, portraiture, self-portraiture, reflection and projection of the self, based on an original image construction technique that resorts to reused industrial tiles (openly exploring an entire wealth of Portuguese material culture) in order to produce singular compositions created from independent units following the principle of the pixel or photographic grain.”

in Underdogs website


Photo credits: Bruno Lopes

20150526 Pedrita Best Guess 11 by Bruno Lopes

Photo credits: Bruno Lopes
Photo credits: Bruno Lopes

Underdogs Art Store

Underdogs Art Store
for Underdogs at TimeOut Mercado da Ribeira, with António Pedro Louro
Lisbon, 2015

Photo credits: Francisco NogueiraPhoto credits: Francisco NogueiraPhoto credits: Francisco Nogueira

Underdogs, a cultural platform dedicated to promoting the production and disclosure of urban-inspired contemporary art, was founded in Lisbon, in 2010, maintaining their current work model – interacting and collaborating with urban-inspired creators through regular exhibitions on their gallery, public art programmes and producing original artist editions – since 2013.
In an ever growing process, Underdogs opened an art store in the heart of the city, at the historical Mercado da Ribeira, one of Lisbon’s main market.


Photo credits: Francisco NogueiraPhoto credits: Francisco NogueiraPhoto credits: Francisco NogueiraPhoto credits: Francisco Nogueira

Photo credits: Francisco Nogueira
Photo credits: Francisco Nogueira

A storefront for the project’s work, Underdogs Art Store was designed by Pedrita studio (designers Rita João and Pedro Ferreira) and the architect António Pedro Louro, selling limited-edition screen prints, created by the world’s leading urban-inspired artists.
A metallic structure with an industrial look, recalling the historical glory of its location, wraps the works of over 30 artists worldwide, curated by the Portuguese artist Alexandre Farto, also known as Vhils, and by Pauline Foessel. The store opened on December 4th, 2014, on the market ground floor and was moved to the first floor on June 24th, 2015, on the occasion of their new visual identity launch.

Photo credits: Bruno LopesPhoto credits: Bruno LopesPhoto credits: Bruno LopesPhoto credits: Bruno LopesPhoto credits: Bruno Lopes Photo credits: Bruno Lopes Photo credits: Bruno Lopes

Photo credits: Bruno Lopes
Photo credits: Bruno Lopes