Ângela is interested in social memories and how these memories intercept her life and her work as an artist. Surrounded by images, objects, narratives, personal memories and community memories, she wants to understand what is her place as teacher and an artist, creating new ways of experiences and knowledge inside communities. She understands people's life is a melting pot of experiences and memories with which they construct a singular person. Her projects are collaborative and focused on the unique experiences of the working group. This diversity is very open her own work as a teacher, where she works with students and reflects with them about their roots, in the between spaces, to project and questioning the future in ways that may make more sense for them.

Barcelona, 2013

As a/r/graphers we are interested in raising continuous challenge, both from the enjoyment and contemplation of the final work, as during the process of creation / production and publishing process, as well as through the dialogue with the authors. In this process we address critical thinking issues. We are interested in anonymous, silent narratives. The narratives of common and invisible people, are “what is the margins”, in everyday life and in the “whispers of the neighbors”, they are formed im the silence that you hear. We are interested in this aspect of everyday life: “the humble everyday reason” (Lefebvre), “ln listening to the feelings” (Drummond de Andrade, 2012:9), where the silence will slowly but profoundly transform each one of us. We work in the artistic discomfort of demand and in the cosiness of the other. We build artist relational webs in the community. We will speak here of two processes of constructing these webs that, although different in time, are built as arts education activist projects.

Saldanha, A. y Torres de Eça, T. (2014). "Mantas colaborativas: silêncios ruidosos". Jaen: Tercio Creciente n.º5, págs. 37 - 50

The congress addresses formal, informal and non-formal arts educational contexts through practice informing research. Current problems and alternative models of artistic education and education through the arts in Europe will be discussed over several topics:
Advocacy for Visual arts education in European schools; - Arts education in European cultural institutions (museums, art centers, environmental and theme parks, and others);
- Arts education amongst schools, universities and cultural institutions;
- Multimodal contemporary art practices and art education in Europe; digital and media tools in visual arts education; social engaged art education; activist art education;
- Current paradigms of arts education in Europe: Ethics and Politics of arts education for a sustainable future;
- New directions for visual arts education?
- Towards a 2015-2018 Agenda for Arts Education / A Survival Kit for Visual Arts Education Special Panels.

Organization and design of INSEA European Regional Congress, Culturgest, Lisbon, Portugal, July 2015

We see ourselves in the between spaces of being artists, teachers and researchers, we fill our lives in the liminality of our experiences in arts and education, searching for meaning and understanding through all our senses and ways of expression.
In her search for making meaning of her world Angela, the artist, the teacher and researcher needs to understand her past. Searching for making connexions in her life experiences she is finding an informal education setting in the community of her grandmother. A group of old people coming from an industrial society which does not exist any more, surviving in the era of Knowledge and information, maintaining old processes of sharing and knowing. Though her artist lens, Angela discovers a new reality and she his determined to understand and preserve.

Project "No caminho para casa" (2010 - 2015), Gulpilhares, Portugal