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Bohemian Artist Gallery


© Linda de Sousa


Thinkings and reflections about Linda de Sousa and her work by artists, writters, critics and friends.


Maestro Jorge Luis Hurtado Reyes, Director of Visual Arts of the Autonomous University of Sinaloa. November 2020
Gloria Hernandez. September 2008
Susan B. Somer, INPEA General Secretary
Joáo de Melo. Writer and Cultural Adviser of the Embassy of Portugal in Madrid. March 2005
Maria Tecla Portela Carreiro, Writer, poet and journalist. May 2004
José Manuel Álvarez Enjuto

Rosa Martínez de Lahidalga, of the International Spanish Association of Art Critics
Dra. Rosa Maria Roriz, Diciembre de 2002
Luis Hernández del Pozo, member of the International Spanish Association of Art Critics. 2001
Joël William. Painter and art critic, painting teacher. April 2001
Paolo Freire


Fernando Caro, Poet 1995



Thank you Linda de Sousa

To you, for all the good that you do, for all the good that you spread, for the bridges you build, by the words that guide us and they give us a real panorama of the arts, and not what officials or politicians say, but a structured speech in the real actor, in the creator, in which it inspires and envelops you with its color, its moment and creative process, with one of flesh and blood and that no matter where I am, where I dream, where I build, we unite with its reality; thank you Linda de Sousa, for being an art bridge between Europe and the Americas, a big hug.

Maestro Jorge Luis Hurtado Reyes, Director of Visual Arts of the Autonomous University of Sinaloa. November 2020


Biofuel! Life or death?

Linda de Sousa's conceptual piece is a serious criticism of the anti-human logic and devastating of the natural order, which operates from frantic exploitation for the enthronement of technique.

The setting and the drawing in transparent is an energetic call to wake up from conscientious conscience in a compulsive consumerism, one that by selfishness or ignorance does not recognize the discrimination to which economically undeveloped countries are subject; Because these places are where inputs for the production of "biofuel" are extracted. The result is that to the weakness of the economies of those nations, the problem of a wild competition between the production of fuels and food is added, a scenario in which the power of supply in the market prevails.
With his work, Sousa invites the viewer to put into action a responsible maturity.

Gloria Hernandez. September 2008



In 2013, Artist Linda de Sousa created and donated to INPEA a masterful, moving work of art , a mobile depicting older persons as invisible to society. She called it "We Exist".

The work is more relevant every day that older persons are suffer from social exclusion and ageism.

I have show the video of her Mobile depiction at openings of numerous INPEA and other meetings. I am grateful to her each time I see it, even as painful as it is for the truth it speaks.

Thank you Ms de Sousa and to Jose Alves who brought INPEA and elder abuse to your attention.

Susan B. Somer, Secretaria General de INPEA



In the approach we make to any work we make to any painter we always have to have into account two or three notions, for example, his technique, the conception of space as far as volatile material and as far as figuration or representation of the artistic imaginary. I don’t see them separately but united by the same creative movement of the hand, and even by a sensible idealization of painting, susceptible of generating the equilibrium and harmony of each work. From that point of view, it is obvious to me that Linda de Sousa dominates all these concepts, and it is like she calls upon them permanently or by instinct, to the idea of the mind and to the work of the hand.

Her mix technique melting the act of painting the inhabitable space with the sculpting of forms that move in it, calls for the use of countless materials (metals, wood, canvas, pigments, bas-relief) and carves out paintings that are double instruments, distributed between the represented objects and the available ones in spatial projection. On the other hand, the painter possesses a theory and a sense of composition of her own as a way of searching and imagining that same space. Resorting to universes that seem to go straight on –that scarcely are in expansion through eccentric circles, that movement generates in the direction of the cosmic, to the sidereal, unfathomable beyond, as if it fell on the temptation of understanding and even embrace the idea of infinite.

Her is a work, apparently restless, but also paradoxly calm, harmonic, equilibrated in its own mechanisms, spinning in a world of spheres, spirals and round moons, or on the light of the natural elements water, air, earth and an odd hint of fire. Consequently, also, its density. All of a sudden it is sculpture and then it is pure pictorial creation. And it branches out, as a rainbow, in the kaleidoscopic of its many and varied motives that adapts or accommodates to any automatism or repetition system. Meaning, I repeat, of a starting universe, a world that expands, of an interior “movement” that resounds around and that with us walks further up. In elevation and joy.

Joáo de Melo
Writer and Cultural Adviser of the Embassy of Portugal in Madrid
Marcho 2005



Linda de Sousa opened her eyes to the light of the Atlantic in Lisbon, heiress of a world of conquerors and navigators, decided to sail her ships through all the seas of creation –and of life that in no way is foreign to her- without fear of monsters or storms.

She would have liked to study the Fine Arts, but the ways of the Art are divine and because of it, inscrutable, and majored on Chemical Sciences. It is pertinent that much of her great knowledge of techniques and materials and of its treatment –almost lab like- is owed to her scientific formation… Ah!, but there she is, alchemist, dreamer, navigator of time, and with oriental genes –her great grandfather arrived from China to sell silk ties in Portugal- to all this Linda imposes her creative capacity, her originality and genius, achieving that each one of her works is an example of imagination that attracts and embraces us, leaving ourselves immersed in a thousand questions.

Founder and teacher –expression studies and academies are part of her knowledge-, she has the strange art of discovering colours and shades inherited of unknown ancestors or achieved by some sort of spell –that would be unmentionable if Linda were not transparent-. And after each sailing her ships return maintaining their old solidity before the pressure of new winds.

Linda gives us shoals of fish with CD shoals and skin of metal, zodiac constellations lost in a cobalt blue of other lands, or stolen plans of historic constructions recreated in tin.

She paints –in reality she creates- as she speaks: non-stop moving nor imagining, changing language and motive, with an unusual versatility. The artist she has inside also does not stop imagining, dreaming, searching –and discovering- new worlds and new techniques, when the great talker and the great creator leaves space to a new creature full of a generosity that, prodigiously, also creates by itself.

She fears nothing. Her ships have weathered many storms and overcome many monsters that the blue of her Atlantic encourages that indescribable creative capacity to bring new worlds of the spirit and of art on which her land has always been so very fertile.

Maria Tecla Portela Carreiro
Writer, poet and journalist
May 2004


In many are the excellencies that we can adduce, the extremes of its freedom, unmovable; the infinity of its limits, its marvellous gift of the multiplicity of its interpretations, the endless reactions that it provokes, the addition that it generates, and so many more. One of them is the restlessness produced to whom execute it, motivated by continuous psychological, emotional, attitudinal and educational changes experimented by people on their day by day. All of this makes that those who live immersed on those expressive registries experiment a continuous evolutionary necessity, practiced both in its thematic and formal contents, as its constructive resources. Such is the case of Linda de Sousa.

Her pronounced restlessness, her permanent desire of learning, her insisting wish of progress and bettering herself in everything, took her to apply in her work numerous syntactical and argument changes; different in each other, unconnected in its gradation, foreign in its conclusions. But despite all this they are doted of the enormous compromise that distinguishes her, rigor truth, demand, enthusiasm, determination, cleanness, hart, honesty. Very serious and honourable qualities that identify her. Moreover, her inflamed fight with herself to discover her own truth. The best and biggest attribute of her work and which distinguishes her. If it was not enough, her unwitherable sincerity.

José Manuel Álvarez Enjuto


Dreams of memory

In her gaze nest many dreams of light and sea; of open horizons whose courses have to be traced with most care in order not to loose the direction that marks her creative restlessness. Linda de Sousa comes from Lisbon, city to where an ancestor arrived from China, dealing with silk, and settled. The restless light in her eyes and the slightly slanting features smile when she talks about her experiences up to now. Linda could not study the Fine Arts as she wished for, but she majored in Chemical Sciences, maybe from where it comes her audacity in using the most various materials and pigments in the making of her paintings.

Her outstanding capacity of communicating takes her to found in 1980 with other teachers a plastic expression studio. The achieved success does not keep her away from her painting, each time more committed in expressing, transformed in colour, space and light, all she feels and happens to her. Doted with a great sensitivity able to bring out of the palette delicate colouristic harmonies but also abrupt erosions that a well equilibrated composition will show in a perfect balance, Linda dominates in the same way the lyric abstract concept, as the objectivism of forms and signs taken from Nature and which are related with her own world. An old tree, a feminine body, the rhythm found in a silver sea by digital fish, leave on the surface of her work an itinerary of transformed realities.

The concept and the symbol underlying these works that know they possess their own meaning but wish at the same time to go further in the creative dream that inspires them. Extraordinarily restless, Linda has knowledge on the restoration field; she has commissioned expositions in New York and Lisbon, directed since 2000 the Art Gallery Per sempre in Madrid and Alcalá de Henares. Her aim, nevertheless, looks for the deep source of painting that in this new century is open to new technologic connotations. Nothing more necessary for this singular artist, but to confront her restlessness with other professionals and obtain new knowledge which will enrich without a doubt a sensitive, creative will that looks up to transform reality to the category of Art, Meaning, to convert all she makes in an expressive potential of growing harmonies.

Rosa Martínez de Lahidalga
Of the International Spanish Association of Art Critics


Relishing form the freedom that distinguishes her textures that, far beyond mere aesthetic exercises it reveals restlessness, symbolic messages that awake and surprise us, the painter confronts us with possibilities where the materials –new development icons of this so called consumption society- such as the technology and the progress, at the end, can be what we would like to do with them.

Dra. Rosa María Roriz
Diciembre 2002



In the world of Art, some are born artists and others are self made on the basis of hard work and will power. Linda de Sousa (Lisbon 1949) belongs to the first group, on that social scale of art where are inscribed those whose in their genes and soul have creation printed. Obligations and family interests took her to study Chemical Sciences in her native city, but the siren call of Art overpowers all other interests and she moves to Spain (1970) to create her own painting studio awhile she takes courses in scenery on the Faculty of Fine Arts. She studies, works, researches, makes mistakes, makes amends, learns... and presents her work in as many expositions and competitions as she can. And the awards arrive, St. Guillem-Le-Desert, Bèziers, Boujan-sur-Libron... and her acts as commissioner in America, and she keeps on her didactic work trying to teach, to thrill, all that the world of Arts can offer to Human Beings.

Today we bring to the pages of the Pacífico, the methodical and creative work of this woman who based upon certain technical knowledge of singular value, offers on these times where, sadly, abound the pseudo artists and fictitious genius, as a model of that in this great field of creation can be done. Linda de Sousa tries to apply to art the most various material, and, sometimes, in less harmony with what is looked for; so we see in her studio tin leaves, steal, wire rope, iron, copper, used CDs, sand, rabbit glue, sawdust, cartons, various types of wood, aguaplast, latex and all that could be used as a mean to achieve the aim which is no less than to look for the maximum expression with the minimum material. This is helped by her sense of colour, the sober use of tones that she knows how to print in her work, always with the denominator of figuration and not the abstract concept, something that, as surely our readers know, was also done by the genial Pablo Picasso, this is said with most respect and without the aim of making comparison. Nowadays, Linda searches for that essential harmony between real forms and the ones she herself creates; so, we see the Velazquez Meninas go thin, not to correct the plan of the master, but to point out the faults that in a world of consumption and materialism are obvious, but she, filled with love, tries only to interpret. And the Three Graces to which she calls three disgraces because of the anorexic models.

Fish sceneries, flowers, geometric interpretations, shapes... all is present in her work, in her motivation, in her soul of artist that tries to communicate with whom, like her, feel the vital need to express their private feelings in these moments where the distressed scream of the Human Beings is lost among sounds with no harmony and recreations that have nothing to do with art, with that art of search and creativity that offers to us, generously, Linda de Sousa.

Luis Hernández del Pozo, member of the International Spanish Association of Art Critics, 2001.


Madrid, April, 2001

On the moment an artist meets another one, he is expectant before the work he is going to discover. So, depending on what is going to appear, the work can bother us or seduce us.
But, since my first contact with Linda de Sousa, I was delighted with our meeting. For Linda’s own personality, whose gentleness and communicativeness have no equal, and even more for her art. In what to her refers, this word should be written with capital letter A. she deserves it. Let’s say, that she is a great dame on the art of painting or any of the applications of the mentioned art, because she outshine in all of its aspects. Moreover, she is an admirer of the classics, those great masters she worships, she is placed on the present line of the artists making a synthesis of the two past centuries.
It was in France were I was introduced to Linda, that on the other hand, charmed all of the present people, an audience with knowledge on the material, seduced at the same time by the incomparable mastery of what is offered to the enraptured look of the visitors of this exposition.
Because she deserves it, I wish to Linda de Sousa, generous and with great imagination and inventiveness, an enormous success as well as in the Iberian Peninsula (Madrid and Lisbon in the first place) as abroad, specially, our present Europe.

Joël William
Painter and art critic, painting teacher.


“Culture is all that is created by Mankind. As much as a poem or a phrase of welcome. Culture pertains in recreation and not repetition. Mankind can do it because it has a conscience capable of capturing the world and transforming it”.

Paolo Freire



The woman, when she paints, is a torrent
the inspiration with waters of the infinity;
an amazement of light; a dream in a scream,
and a skin that burns suddenly.

The woman, when she paints, is that fountain
that sings at night for the ritual
of guessing the history of the sacred
birth of emotion; although the people,

with a tribal pace, neglect
the world. (But let’s think: who have not been people sometime,
with a soul in the back room?).

Our Linda de Sousa, proclaims it
with her palate, hart, and nest:
a painter is a volcano on the raw.

A painter is a volcano on the raw
over the feverish map of emotion,
where lava is the lymph of the accent
and the crater, loud speaker made broom.

Painting in feminine is famed of
treading on that barrier at a thousand per cent,
that man made up the story
of an art not proper of a dame.

If a woman is a mother, who dares
to say such absurd without flag:
the woman is capable of making with snow

a burning lake where swims the child
that all of them take each Spring,
towards the garden of love where there is no cold.

Towards the garden of love where there is no cold
pulse together the soft hands
of the women, duo of pianos
to debut silence in the bodies

of the breeze, that Linda steal from the Miño
and to the man, tamer of her arcane
where swallows are kites;
and praise glory, shadows without ermine.

Linda de Sousa, beautiful: your brushes
in two languages, give the Sun more verbs
anchored in horde like deer

of those books that put honey
on my childhood. Your vocation does not lie:
the woman, when she paints is a torrent.

Fernando Caro. Poet.