DESVIATIONS AND MISPLACEMENTS 3 2024-03-01T15:34:52+00:00

Collective of Singular Art

In the third edition of “Desvios e Extravios” (Deviations and Misplacements), a collective exhibition of singular art, Cruzes Canhoto highlights the work of four artists: Sátrapa, Martinho, Idalécio and João Fróis, all of them self-taught with extraordinary intuitive skills and surprising visions of reality.
IDALÉCIO is an outsider artist, born in 1952, in a small village in Aveiro district. Pop and populist, surreal and tropicalist, Idalécio is strongly inspired by the Portuguese folk art, of which he is a great collector.
JOÃO FRÓIS, comes from Lourenço Marques (currently Maputo), where he was born in 1949. The psychedelic and surrealistic drawings, impregnated with African motifs, that make up his work are created on sheets of ordinary notebooks or pieces of cardboard that he finds on the street, using a simple pen.
MARTINHO was born in 1970, in Ribatejo, but it is in Ovar that he develops his work. Restless and misaligned by nature, he finds comfort for his mental unquietness through his artistic expression. He makes art like catharsis, creating in a compulsive and visceral way.
SÁTRAPA appears in late 2013, as an alter ego that arises from a combination of factors that lead him to create the Factoría de Androides, a space where his extraordinary creations are born spontaneously, in a therapeutic exercise of alienation, fiction and fantasy.

Deviations and Misplacements 3
01 December 2020 > 13 June 2021 + A Few More Days
Galeria Cruzes Canhoto, Rua Miguel Bombarda, 452, Porto
Cruzes Canhoto
Tiago Coen / Cruzes Canhoto
Nuno Marques / Joana X / Pedro Soares / Cruzes Canhoto
Pedro Soares / Cruzes Canhoto

All works exhibited are available for online purchase.
If you are interested please contact us.


Idalécio (b.1952) is a portuguese self-taught artist from a small village in Aveiro district.
He started creating spontaneously in the country house where he grew up as an orphan, having no artistic pretensions or interest in revealing the collection he has been accumulating throughout his entire life.
In April 2016, after multiple encounters and conversations, the exhibition “D’Idalécio… Todos Temos Um Pouco” opened at last at the gallery Cruzes Canhoto, in Porto, and his outsider sculptures and paintings could be shown in public for the first time. Still, despite having sold more than 300 art pieces during this operation, Idalécio intended to remain anonymous and continued in the factory where he has always worked, creating only in his spare time. It was not until September 2017, at his second exhibition in Cruzes Canhoto, “Metalúrgico Sexagenário”, that he agreed to reveal himself to the public and to the press.
Pop and populist, surreal and tropicalist, Idalécio is so strongly inspired by the Portuguese folk art as is by some of the expressions of African tribal art, of which he is also a collector. His presence in the interior of Mozambique in the late 1970s serving during the war could be at the basis of this artistic influence.
If at the beginning of his creative activity some stylistic inconsistencies are evident, in the more recent production is perceived a greater cohesion of styles, forms and themes, the result of a successful evolutionary process towards a unique and personal language, as
we could perceive in his most recent exhibition, “Saints, Devils and Other Beasts” (Cruzes Canhoto, 2020), where Idalécio, having nothing else to prove, refused to show any kind of exhibitionism, reducing shapes and colors to the essential, often monochromatic.


Born in 1949 in Lourenço Marques (now Maputo), João Fróis came from an Alentejo family based in Mozambique for three generations. In the former Portuguese colony, where he remained until 2001,
he did a little of everything, giving meaning to his nonaligned, dilettante and adventurous personality. Among other activities, he was a military man, a journalist, a basketball coach and a flight attendant for the Mozambique Airlines. During his free time,
he drew and painted, taking advantage of the close relationship he maintained in the local bohemian and artistic scene, which included Malangatana and Chichorro.
He currently lives in Ponte de Lima, completely out of the system, in a kind of isolation that allows him to take his days as he likes, free and detached from material questions. Self-taught, he makes art as a mental therapy, especially when life doesn’t suit him, never having shown great interest in projecting himself as an artist.
In April 2017, Cruzes Canhoto exhibited a retrospective of the artist, entitled “Psico-afroliberdelia”, composed of 60 drawings that resulted from an unconscious process of self-therapy over a decade (2003-2014).


Born in the Ribatejo region, but living in Ovar for a long time, Martinho (b. 1970, João Pedro Coutinho) chose to graduate in design.
Restless and misaligned by nature, he soon found comfort for his mental unquietness through his artistic expression. However, he does not create for the artistic milieu or in search of fame. Nor does he take himself too seriously in his occupation. He makes art like catharsis, creating in a compulsive and visceral way. This is noticeable in his entire work, although not in an obvious way, both in paintings and in sculptural objects.
His collages and assemblages, apparently chaotic and abstract, actually present narratives that report situations of his tormented daily life. It turns out that this daily life is not exclusive to Martinho. It’s common to many of us, and that’s what makes his work so strangely attractive, impressive and empathetic.
After a first solo exhibition, in 2018, at the Ovar Art Center, he presented “Sem Juízos”, at the gallery Cruzes Canhoto, in Porto, in March 2020.


Sátrapa emerged at the end of 2013 as an alter ego of artistic expression in agitp(r)op mode. What started out as an exercise of alienation, fiction and fantasy, quickly evolved into something larger to an unusual level of creation in painting and sculpture.
For those unaware of Sátrapa’s creative process, it is difficult to believe that all his works are the result of actions driven by intuition, where nothing is outlined or preconceived. These are creations of the moment, on impulse, and only later refined and finished with a rigorous elaboration typical of a master.
In April 2018, Cruzes Canhoto exhibited a retrospective of the artist’s work at the exhibition “Factoría de Androides”, where one could appreciate not only his famous robotic sculptures but also the paintings that were at their base, still very close to simplistic forms of street art. The success was such, that it was necessary to organize a second part of that show, in the same year: “Factoría de Androides II: Marte Contra-Ataca”. In September 2019, still at Cruzes Canhoto, the exhibition “Mutantes” is presented, exclusively with paintings.
In his evolution, together with the aesthetic refinement, we perceive a greater concern with the denunciation of the brutal changes that society has been undergoing in recent years, especially in his new painting works, where the portrait forms with unconventional faces and bodies acquire a truly impressive depth of character and psychological density.