workers with a neorealistic tendency) and more developed punctual creations, it was only in 1967 that Tereza Arriaga would become a more consistent and professional painter. The author herself divided her studies into three series, which correspond to three periods: Bioburgos, Helioburgos and Biohélios. All of them are based on the search of an ideal of perfection and the expression of internal agitation. The dominant semiological element varies: the “bioburgos” are, according to the author, ourselves, town animals but biologic, that means they are inserted in a wider system as all the animal have towns. On the other hand, the element “helium” refers to the confrontation between the being and the light. The semiology of the vital elements is inserted in an emotional and intellectual search for cosmic connections between beings that are indefinite to conscience and thus can only be expressed by the threshold, i.e., by the ambiguity between dream and emotion, inside and outside, near and far, finding and losing. She expresses a reverential relationship to living elements without any sacrality. She prefers to call this type of relationship “comradeship”. Her paintings are, according to her own definition, “places to go”. Her plastic project explores, above all, the power of colour in relation to geometrical shapes, which melt in a conceptual and suggestive threshold. Her work is mainly represented in the collection of the Museu do Chiado, as well as in institutional and private, national and foreign collections. Political resistance In Marinha Grande, moved by the tough reality she witnessed and motivated by the state of affairs after World War ll, as well as the development of political activities against the Salazar regime, she developed cultural and political initiatives between the 1940s and the 1950s. These initiatives included working class clubs and associations, and conferences on women's rights, music or history, where she would take intellectuals and artists from Lisbon such as Fernando Lopes Graça, Maria Isabel Aboim Inglês or the historian Flausino Torres to industrial towns around the country. During that same time, she became involved in antifascist movements and events, which culminated in her arrest by the PIDE and 110 days of imprisonment in the political prison of Caxias. This imprisonment would bring her several professional problems. Bibliography Carmo, Fernando Infante (editor and preface): Aspectos das Artes Plásticas em Portugal, 1992 (it does not refer to the painter; reproduction of a painting and painter‘s photo) Dacosta,