André Tecedeiro

- Portugal -

André Tecedeiro is a Portuguese poet, born in 1979. He has a degree in Painting and a master’s in Visual Arts.


His career started in the area of fine arts, to which he dedicated himself, almost exclusively, for fifteen years, during which he held dozens of exhibitions.

In 2014, he published his first book of poetry, Rebento-Ladrão (Tea for One), followed by Deitar a Trazer (Douda Correria, 2016).

In 2017, he started a process of gender reassignment and went back to studying, graduating in Psychology, with a master’s in Work and Organizational Psychology. At that stage, he published O Número de Strahler (Do Lado Esquerdo, 2018) and A Arte da Fuga (Do Lado Esquerdo, 2019).

In 2020, he published A Axila de Egon Schiele (Porto Editora), which contains the previous books, unpublished poems, poems scattered through magazines and anthologies and a conversation with his wife. This book is part of the National Reading Plan.

In 2021, he wrote the play Joyeux Anniversaire for the Teatro Meia Volta, opening the doors to several projects in the area of playwriting.

In 2022, he participated as an actor in the play Orlando, by Cláudia Lucas Chéu, directed by Albano Jerónimo.

His work was the subject of a session of Clube dos Poetas Vivos (Teatro Nacional D. Maria II, 2019) and of a staged reading of the cycle Da Voz Humana (Livraria Ferin, Lisbon, 2019). He has participated in several TV and radio shows and in podcasts.

He was one of the writers invited to the Bogotá International Book Fair – FiilBo 2022, in Colombia.

André Tecedeiro’s poetry is characterized by depuration and the absence of too many words, in “brief, low-flying poems, in which each word is placed on the page with surgical precision (Carvalho, 2021). It has also been interpreted as a reflection on identity matters, marked by the experience of gender reassignment (Martins, 2021), “a manifest about what it is like to live with and within a body, a body that, sometimes, seems strange and in discord with it’s bowels, where much remains hidden under the skin” (Carvalho, 2021).