Alinhados pela Mesma Lã - Interview with Vasco Águas
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The new exhibition “Alinhados pela Mesma Lã” (Aligned by the Same Wool) is the result of an artistic residency organized by the Loulé City Council.

"The wool of the Churra Algarvia sheep is distinguished by being a smooth, long, and resistant wool fiber, with a coarser texture than other fine wools. (...) Despite this, its creative potential is enormous, especially when explored in artistic contexts, where its rusticity is transformed into aesthetic and artistic value."

The new exhibition “Alinhados pela Mesma Lã” (Aligned by the Same Wool) is the result of an artistic residency organized by the Loulé City Council, through Loulé Criativo, with the Forest and Biodiversity Agenda, an initiative dedicated to valuing the wool of the Churra Algarvia sheep — an autochthonous breed from southern Portugal that is at risk of extinction. The exhibition opened on October 10th and will be on display until November 22nd, 2025.

We had a conversation with Vasco Águas, curator of the exhibition.

How long did the artist residency last, and how was it structured and organized?

The artistic residency lasted a total of six months, from the first meeting to the opening of the exhibition. Throughout this period, it was organized into three complementary phases: the first dedicated to training and knowledge sharing, accompanied by Rita Guerreiro and Carolina Bruno de Sousa, from Algarchurra (the Association preserving this local sheep breed), and Paula and Pedro Neves; the second focused on artistic production, which combined mentoring with individual and collective works; and finally, the exhibition phase, where the results were presented to the public at the Gama Lobo Palace in Loulé. Alongside the official structure of the residency, André Matos (image) and I (production) made a video recording, for future reference, of the sheep shearing and the voices of two shepherds and breeders from the Algarve who shared their knowledge and their relationship with the Churra Algarvia sheep, which can be viewed both in the exhibition and on YouTube.

What were the main objectives or guiding principles of this project?

The main objective of the project was to celebrate and promote the wool of the Churra Algarvia sheep, one of the sixteen native sheep breeds of Portugal and the only Churra breed found in the south of the country. This initiative, which had the essential support and partnership of Algarchurra, sought to give visibility to this raw material, strengthen ties between producers, trainers, artists and textile artisans, and contribute to the preservation of the cultural and historical heritage associated with this native breed.

How would you describe the wool of the Churra Algarvia sheep?

The wool of the Churra Algarvia sheep is distinguished by being a smooth, long, and resistant wool fiber, with a coarser texture than other fine wools. These characteristics traditionally lead it to be associated with utilitarian uses, such as stuffing for mattresses or carpets, rather than delicate clothing. Despite this, its creative potential is enormous, especially when explored in artistic contexts, where its rusticity is transformed into aesthetic and artistic value.

The exhibition demonstrates that this type of wool can also be creatively explored in clothing and design pieces. Beyond its heritage and cultural value, what textile and artistic value do you recognize in this fiber?

Beyond its heritage and cultural value, Algarve Churra wool possesses enormous textile and artistic potential. Its robust and irregular texture, which traditionally excluded it from fine clothing, becomes an expressive resource when applied in creative contexts. It allows for the exploration of volumes, reliefs, and techniques that highlight its rusticity, giving the pieces a unique and authentic character. An example of this are the sculptures by Cláudia Moreira, or the capes created by Ana Soromenho, woven with a large percentage of Algarve Churra wool, which demonstrate how this fiber, with the necessary reservations, can be transformed into contemporary, sophisticated garments with a strong aesthetic identity. In the exhibition, this approach confirms that wool is no longer seen merely as a utilitarian raw material but is assumed as a central element of contemporary design and artistic creation.

Given the limited amount of wool available, was it combined with other fibers or materials during the process?

For this project, we did not experience a significant limitation in the quantity of raw materials. We had at our disposal approximately 100 kg of raw Algarve Churra wool, which was entirely processed by us, from washing to spinning. Many artists chose to combine this wool with other fibers, whether of animal or vegetable origin, or even with materials such as copper and wood. This choice did not arise from a lack of wool, but rather as part of the creative process and artistic practice of each artist, exploring dialogues between different textures and materials.

The exhibition documents the entire process — from cleaning and sorting to hand spinning and crafting the pieces. Can you describe this process for us?

The shepherd-sheep pair is the starting point and key element in the preservation of this native breed, as the continuity of wool as a resource depends on it. The transformation process begins with shearing: the fleeces arrive raw, laden with natural impurities such as soil, plant debris, and sometimes excrement. This is followed by cleaning and sorting, where the most suitable fibers for spinning are selected, then washing, done carefully to preserve quality, followed by crazing, combing, or carding – steps that prepare and align the fibers for spinning. Hand spinning transforms the wool into yarn, using traditional techniques that maintain the authenticity of the material. During the residency, this yarn—and also the raw fleece—became the starting point for a very diverse creative process: some artists explored weaving to create clothing or art pieces, while others opted for felting, either raw fleece or carded wool, to develop sculptural pieces, combined or not with materials such as copper or wood, creating unexpected dialogues between textures. The exhibition documents all these stages, showing how a simple raw material can give rise to works that unite tradition and contemporaneity.

Have you had the opportunity to participate directly in any of the manual stages, such as washing or carding the wool?

Yes, I followed and actively participated in all stages, from shearing to spinning. As a curator—and also as a textile artist—it wouldn't make sense any other way. To truly understand the process and the idiosyncrasies of the raw material, I considered it essential to participate actively; it would be impossible to achieve this understanding by being merely a spectator.

How would you describe this experience on a sensory level — the smell, the texture, the physical contact with the raw material?

This experience is profoundly sensory. The first impact is the intense smell of raw wool, which evokes memories of the countryside and the animal, an earthy and organic aroma that accompanies the initial stages of the process. Then, the texture: initially rough and laden with impurities, it transforms as it is washed, combed, and carded, becoming cleaner and more pliable, but never as soft as a merino wool, for example, always maintaining its own roughness, which is part of its identity. The entire process is very physical, and contact with the raw material is constant, requiring time and dedication—washing, creasing, carding, spinning, felting—everything involves touching, feeling the fiber in your hands, perceiving its resistance and plasticity. This direct involvement creates an intimate relationship with the raw material, very different from working with industrialized materials. It's almost as if each gesture were a silent conversation with the wool, revealing its creative potential.

Why is it important, nowadays, to revitalize traditional wool working techniques?

Revitalizing traditional wool working techniques is essential because they carry ancestral knowledge that is at risk of disappearing. These practices are not merely functional; they represent a way of relating to the raw material that values time, craftsmanship, and sustainability. In a context where industry prioritizes fast and uniform processes, rescuing these techniques means preserving cultural heritage, continuing local knowledge, and at the same time, opening space for new artistic interpretations. Furthermore, this appreciation contributes to the preservation of the region's genetic resources and to the maintenance of the Churra Algarvia breed itself, currently classified as rare. By creating new uses for its wool, we reinforce the importance of its breeding and ensure that this living heritage is not lost. Revitalizing these techniques is, therefore, also an act of conservation and of the future.

The participating artisans and designers explored various techniques—such as felting, weaving, and others. In your perspective, which ones best reveal the aesthetic potential of this wool?

From my perspective, there isn't a single technique that best reveals the aesthetic potential of Algarve Churra wool, but rather approaches that respect and explore its nature. Techniques like felting and weaving highlight the density and texture of the fiber, while more experimental processes, which play with volume and irregularity, reveal its expressive power. The essential thing is to work with the wool without trying to transform it into a "fine" fiber, but rather to embrace its rusticity as a distinctive element.

In your opinion, what was the most successful or surprising use of Churra Algarvia wool presented at the exhibition?

I was very pleased with the individual results achieved by all the artists, but there were three pieces that surprised me by the way they explored limits — both individual limits, of the artists themselves, and limits of the raw material. I am referring to Ana Soromenho's capes and the sculptures by Cláudia Moreira and Susana Mendez, which revealed bold and innovative approaches, challenging the possibilities of Algarve Churra wool.

As a curator, what were the main challenges in realizing this project and setting up the exhibition?

One of the main challenges was ensuring coherence between the diversity of artistic practices and the curatorial narrative, respecting the identity of Algarve Churra wool without limiting the artists' creative freedom. Logistics were also demanding: processing approximately 100 kg of wool, from washing to spinning, involved time and coordination. In the installation, the challenge lay in creating a space that valued each work individually while simultaneously conveying a sense of unity. Furthermore, I developed an installation that presents the main phases of the wool cycle—from shearing to spinning—highlighting the traditional knowledge associated with the Algarve Churra sheep, which required additional research and design work to integrate this educational dimension into the exhibition.

Could you tell us a little more about the artisans and designers involved and how their approaches complement each other during the residency?

The residency brought together seven artists — Ana Soromenho, Cláudia Moreira, Luisa Leão, Maria Terra, Rita Martins Pereira, Rita Teles Garcia, and Susana Mendez — who worked with Algarve Churra wool from very different perspectives. Ana transformed the fiber into garments, creating capes that assert presence and identity. Susana explored the density of the wool in a textile cocoon that evokes shelter and metamorphosis. Rita Teles Garcia combined wool and copper to construct sculptures that dialogue with the mineral landscape of the Barrocal region, while Maria brought wood to reflect on the time of creation and the relationship with the territory. Luisa worked with family memory, combining wool with inherited fabrics, and Rita Martins Pereira reinterpreted elements of the Algarve, such as chimneys and plant textures, transforming them into a contemporary language. Cláudia explored physical contrasts between weight and lightness, creating compositions that inhabit the space. This diversity allowed for a dialogue between tradition and innovation, showing how Algarve's Churra wool can be reinvented in very different languages without losing its essence.

What do you hope visitors will take away after visiting “Aligned by the Same Wool” — both in terms of artistic inspiration and heritage awareness?

I hope that visitors leave the exhibition not only inspired by the creativity and diversity of the works presented, but also aware of the importance of preserving this heritage. “Aligned by the Same Wool” shows how a traditional fiber, often undervalued, can be reinvented through contemporary art, reinforcing the connection between territory, culture, and know-how. The intention is for each person to recognize that Gaucho Churra wool is not just a raw material, but part of the identity and collective memory of a territory that deserves to be valued.

Photos credit Jorge Graça, André Matos

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