“But ultimately, they knew they couldn’t censor me.”
I met Ricardo by the riverside in Lisbon. At the time, the city had not yet been discovered by the rest of the world, and it wasn’t surrounded by the current hype that has turned it into a paradise for digital nomads and expatriates addicted to yoga and “new age” therapies.
In 2010, we chose to talk on a terrace overlooking the Tagus River, where cargo ships mix with tourist cruises. They disappear on the horizon like a promise of travel and possibilities. The desire to leave haunts the Portuguese.
Ricardo had just finished his studies at the Institute of Photography, and he showed me black-and-white photographs. I remember looking at a profile portrait of a young man. He was a model but could easily have been a rock singer, like those he would later photograph in Paris for numerous fashion magazines. His photographs already had an identity; they seemed to ask to be seen by the world, many immortalizing the endless sea as a premonition. He was about to leave, asking questions, eager to move forward. I felt that Lisbon was too small to contain so much curiosity.
Two of his short films will be shown in Paris in the coming days at Diane Pernet’s 16th edition of ASVOFF ( A Shaded View on Fashion). They are the result of Ricardo’s encounters, the young man who left Portugal in 2011 to embark on a long journey with a desire for change in his bags.
Let’s start with Michèle Lamy. She’s the muse in the video you made for Crushfanzine. How did you meet her? Was it a long time ago?
I’ve known of Michèle for a while, though we hadn’t met personally until recently. I’d followed her work and always found her fascinating. A unique character with incredible style. She’s been the same for so long. Back when she ran her business in L.A., she was just as she is now: the way she does her hands, the beautiful dresses. When you meet these real characters who’ve stayed true to themselves for their whole lives, you see how authentic and special they are. I’ve always thought of Michèle as intriguing and mysterious, in a positive way… there’s no one like her. Finally getting to talk with her in Paris was amazing. She seemed low-key yet eccentric.
I was really happy when Nicolas invited me to be part of this project for CRUSHfanzine. I always appreciate when people want to work with me on a different level. Nicolas is a photographer too, but he was willing to share his space and let me create what I wanted. I brought my videographer, directed the film, and went along with what they were shooting for CRUSHfanzine, but I also created my own little world. We didn’t have a lot of time for it, but it worked out.
Were you on tour with Madonna for the Celebration Tour when you filmed Michèle?
Yes, we were on tour. But I never limit myself with work. If an interesting project comes my way, I’ll find a way to make it happen, you know what I mean?
Michèle is different from the beauty standards people normally celebrate. What does beauty mean to you, Ricardo?
Beauty, to me, is where you find it. Beauty in my eyes is different from beauty in yours. I don’t define beauty in any specific shape or form. I find beauty in very particular things, and that’s what matters to me. That’s how I express beauty, and that’s my definition of it. Beauty is also about connection.
And sometimes charisma?
Yes, for sure. Personality can be beautiful. Something that’s less conventionally beautiful can still be beautiful to me. I think artists are like that. They find beauty in different things.
What people see as “basic” beauty isn’t interesting to me. What’s special about Michèle is that you can look at her and feel different things. I’ve heard people say silly things about her, but that’s not how I see her at all. She’s true to herself and who she really is, and she’s always been that way. That consistency shows her true character, and she’s beautiful as she is. I mean, I feel like I’m writing a love letter to Michèle. But why not? Let’s write her a love letter.
At this point, I’ve known her for almost a year. She’s pure-hearted, very kind, and she cares deeply about what’s happening around her. She enjoys deep conversations.
Are you esoteric, Ricardo? Or were you esoteric at some point in your life?
I am. And I’m also very spiritual. I believe in connection, in nature, and in how we can influence our spiritual lives.
Do you believe in destiny, too?
Yes, and I believe we can sabotage ourselves. Our energy aligns our lives, and energy is life. I’ve always been esoteric and spiritual…it keeps me grounded. My family is the same, and my mom taught me to think that way.
At one point, I was very involved with the church, which is how I grew up in Portugal, but eventually, I found my ownspiritual path. Now, it’s more about connecting with nature and with the people who truly matter, those who’ve been with me throughout my life and care about me.
Does your mother always support you when you’re away? Is she one of those Catholic Portuguese mothers who always pray for her children?
Yes, my parents are a little like that. They’re Catholic, and they do believe and pray, but they’re not fanatical. They don’t go to church every Sunday or follow all the rituals. I’ve always told them that you don’t need to go to church to believe in something. You can believe anywhere… on a plane, at home. You can pray anywhere. You don’t have to follow all the formal rules or be influenced by strict dogma. To me, that can feel like a cult.
You can find your own way to put your energy into life and believe in what you want to believe. To me, that’s the beauty of religion.
I believe in nature and the way its cycles affect us.
You are always very grounded. I met you 14 years ago, and you were already like that when you showed me your first photos. I’ve always wondered how you handle stress when there’s so much happening around you while you’re shooting—fans screaming, paparazzi. How do you manage it?
By nature, I’m a very anxious person, and sometimes that affects my life in a negative way. So, I try to keep a balance. Generally, I’m a happy and grounded person; I try to let go of what I don’t need around me. I focus on pursuing what I believe in and can set aside some things for later. My work stress mainly comes from wanting to make things happen and do my best, whether there’s more or less time. I think stress is essential when you’re an artist and creating something you care about. No matter the job…Whether you’re in finance, managing a store, or creating art, the level of stress varies, but it shows how much you care.
I find peace and balance when a project is completed, and I’m happy with it. Once that stress is gone, I move on to the next thing. I’m always chasing for more. That’s just who I am and always have been.
You travel a lot. I imagine it’s inspiring because you’re always seeing different things. How do you find balance with so much movement? Do you take things as they come and improvise, or do you prepare a lot for photography and filming?
It’s a mix of both. I’ve always been good at improvising rather than over-preparing. Depending on the project, preparation can make the work better, but improvisation plays a big role too.
For Crush Fanzine, you photographed a lot of rockers back in the day. Would you research the artists beforehand?
When working with an artist who only has 30 minutes, I usually think, “Okay, there’ll be a white wall somewhere in the room or a plain background.” For longer jobs where I have more time on set, I can control things a bit more. Whether it’s video or photography, I can focus on production, casting, and sometimes even writing.
So, you don’t feel tied to just one way of working?
I feel like if you reach a point in your career where you’re only able to work one way, it’s the death of your art. If you’re limited to one style, always needing weeks of preparation and a hundred people on set, that rigidity can hold you back. It’s valuable as an artist to adapt to different situations, to do something quick and good, but also to handle more extensive projects that require time.
If you could go back and talk to the younger Ricardo, studying photography in Lisbon 14 years ago, what would you tell him?
I’m still a bit of that same person, just with more experience. I can read situations and people better than I used to, and I’m less naïve. I’d tell him, “Keep your eyes open, and don’t ever trust anyone 100%.”
That advice applies to everyone, not just me. You have to keep chasing your dreams and not give up. And you also have to stay open-minded. In today’s world, so many people are doing similar things (photography, filmmaking, directing). We all have to be open to what’s coming next.
We grew up in a relatively isolated country (Portugal). I wanted to understand your experience with art when you were in Madeira. Do you remember feeling a sense of belonging or not belonging? Were there moments during your childhood that deeply touched you? Diz-me tudo
Nature was always a part of me in Portugal. That’s where I grew up and where I found my balance. Unfortunately, I don’t think there’s much of a thriving art world in Madeira, where I’m from. Lisbon is a bit different now, but even so, I couldn’t imagine myself living there.
In Madeira, you’re always pushed to leave, right?
Yes, or even the rest of Portugal. It’s a bit selfish and sad for me to admit because, as a Portuguese person, I should be more involved. People often ask why I don’t talk more about my country, why I don’t promote it, or show more support. But at the end of the day… I’m also living, and I’m trying to survive and live the way I want to… and follow my artistic instincts and work with the people that I want to work.
I don’t have to bring Portugal all the time, and it’s not a place that I would want to move tomorrow. I understand the fantasy of it and that it’s a country that is amazing.
Is it not easy for photographers here?
I never felt supported. I never felt I could expand or express myself fully. It’s not even that my work is so unconventional; my references are classic and timeless. Still, even working in a classic style isn’t sustainable in Portugal. That’s the main issue…creating art is possible anywhere, but surviving as an artist is a different story.
One last question, Ricardo: have you ever been haunted by a photograph you weren’t able to take?
Yes, there were two moments in my life when I wished I had captured an image…Whether with a phone or a camera. Both times I thought, “fuck that would have been an incredible photo.” I didn’t take them, and sometimes it haunts me. But it’s fine; maybe those moments were meant to be just for me.
I’m attached to media formats like my phone, but I can also easily detach from them. I grew up without that constant connection.I grew up on a small part of the island. On non-school days or holidays when I wasn’t traveling with my parents, I would stay home alone or be looked after by nearby family. I’d go out, and my neighbors and I would play in the streets. That doesn’t happen much today unless you live in a very small, poor town. In cities, that way of life is almost gone.
We experienced a lot of boredom during childhood.
I don’t think kids today understand that. On weekends, my family would have big dinners with 20-30 people. They would set up two tables (one for the adults and one for the children). While I wasn’t forbidden from joining the adults, the arrangement kept us apart. I’d stay with the other children, but eventually, boredom would push me to the adults’ table.
I was always curious, asking questions and trying to connect. I wasn’t the smartest kid, but I was intelligent enough to be curious. Curiosity is an important part of intelligence, and that curiosity drove me to interact with adults. Those moments taught me about life. What you can and can’t do. I’d sometimes try to be clever, which prompted my parents to remind me to stay calm or choose my words carefully.
But ultimately, they knew they couldn’t censor me.
That’s a good phrase. “They couldn’t censor me.” I’m going to finish the interview with that sentence, Ricardo muito obrigado.