Roberto Vámos was born in 1969, in Rio de Janeiro, and since early on has shown a great interest for the visual arts. He studied photography at Stanford University between 1988 and 1991 and held his first large individual exhibition in 1993 at the Caixa Econômica Federal Cultural Center in Rio de Janeiro.
In 1994 he took part, together with German-Brazilian photographer Claus Meyer, in the exhibition “Kilimanjaro Expedition,” at the Rio Sul Shopping Center, also in Rio de Janeiro. Vámos continued working as a freelancer over the next few years, with work published in different newspapers and magazines such as O Globo, Zero Hora, Digital Photographer, Geográfica Universal, Manchete and Superinteressante, among others. In 1999 he decided to dedicate himself to authorial projects and since then has been perfecting his vision and gathering material for several different projects.
In 2006 Roberto Vámos held the first exhibition of works belonging to the series of images entitled Fusions at the Vilaseca Gallery in Rio de Janeiro. In 2016 he published his first book, Viajanseio, and exhibited at SP Photo in São Paulo, through the Vilaseca Gallery.
Today he lives in Lisbon, Portugal and specializes in fine art photography and undertakes long projects, such as the documentation of the entire Andes mountain range and of the Portuguese oak forests.
Vámos has a Bachelor’s Degree in Environmental Policy from Stanford University and a Master’s in Environmental Management from Yale University. Through his work with different NGOs, and as a consultant for schools and businesses, he has acted on behalf of the environment and in promoting a more sustainable society.
I see in art an instrument to, at the same time, calm the mind and stimulate the will. My art is photography, but I regard a camera as a paintbrush, a tool to create an image, knowing that the capture of an image (the click of the shutter) is only the first step in my process of creation. This because in my mind I already see the final form of the image as an artistic representation not just of what I saw, but how I felt at that moment. Thus I process the captured images, whether in a darkroom or in a computer, in such a way that the final result conforms itself with what I saw in my mind when pressing the shutter button. I do not view a photograph as a cutout of reality, but as an image dreamed by the photographer and made real through the use of a camera.