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Nevro was born in Lisboa in 1975, took a Medical Degree (MD) in 1999, and became specialist in Neurosurgery in 2008. He finished a Master Degree in Neuroscience (MSc) in 2005 and became Professor of Neurosurgery (PhD) in 2015. Art has always been present in Nevro’s life, becoming for him the definite removal of boundaries in Neurosurgery.

Nevro's training as a neurosurgeon is renewed in all his works in a rich emotional and symbolic cultural imagery. In Nevro's work the world of surgery, the human psyche and science come together to create spaces of inner dialogue, making art an extension of neurosurgical practice. He exposes his understanding of the brain while displaying recurrent feelings that arise in the clinical practice. Therefore, NEVRO’s work has an encouraging message but disturbing thoughts may be mixed in some pieces.
The artist makes the ready-made one of his most obvious artistic expressions, with the desire to seek something that goes beyond the traditional painting technique, in favour of a new and more conceptual procedure. Nevro manages to skillfully combine his own carving and painting technique, using same tools present in the neurosurgical theatre (such as scalpel blades, rongeurs and drills), characterised by an evident symbolic realism, in which all his communicative power shines through. His painting is presented as abstract and experimental, offering elements necessary to understand his vision of reality, directly inspired by the world of neurosurgery, populated by the brain and the nervous system, a complex and mysterious world that creates a strong connection with the mind and emotions.
His language is presented as a strongly desecrating gesture, with an evident provocative value and considered as an art form that, in some way, raises some fundamental questions regarding the mechanisms that underlie the aesthetic event. Battlefield, weapons, game, probabilities and self-control are recurrent themes in NEVRO’s work, which are obvious insights of Neurosurgery.
Nevro's works take the viewer's attention beyond the traditional confrontation between image and its corresponding object, where words become "a way of adding colour to the painting" (Duchamp).


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