« Rui Macedo’s paintings tend towards invisibility. (…) Between what is externally real is and what is painting, Rui Macedo tends to introduce not an approximating lens, not an interpreting filter, not a reflecting mirror, but a thin film that reinterprets Duchamp’s notion of inframince in order to sabotage it.

(…) Meanwhile, we have already passed through the small chapel where the artist has entered to offer us the vision of the possible hidden by reality. We are intrigued by the banality of the industrial and modern tiles that cover the floor of the chapel: firstly, because they are not in keeping with the global aesthetic language of the space (Baroque), and secondly, because they run up one of the side walls. Rui Macedo's painting has never been about showing the impossible, and yet this new stage in his work presents us with a dilemma: The painting, which offers itself as a floor to be inadvertently stepped on, assumes the status of an ordinary object; but when it continues towards the wall, like the remnant of the space for which it was conceived, it immediately (and not in a different moment) dismantles the illusion it seemed to intentionally lure us into, leading us into the realm of fiction - in other words, with these two apparently contradictory moments, Rui Macedo's painting emphasises the extraordinary place it has long occupied due to its manufacturing qualities and the complexity of its concepts.»

João Pinharanda, excerpt from the catalogue essay., 2021