Growing up between urban Angola, rural Portugal and central London sparked perplexities which later transformed into awareness of social inequalities and appeal of multiculturalism. Pursuing University studies at the Faculty of Fine Arts University of Lisbon, I obtained a 5-year degree in Painting in 1992, with a minor in Ceramics. My PhD focused on creative intuition. Aware of discoveries revealed by practice, I knew they were intuitive: no source or causation, just the rabbit and the hat. I encountered Polanyi's tacit thought, Reber's implicit knowledge and informal learning, Eisner's art-based research, showing how to scrutinise practice and experience. Hegel's intuition or Gil's evidence, Ramachandran and Damasio's neurology, and the 'fast' and 'slow' thinking in Kahneman unveiled the constructions, mechanisms, and predispositions that condition intuitive — or creative — thought, as attested by artists and designers. It thus became possible to inquire into practice of individuals or groups, since each person's art has the potential to translate a unique world that deserves to be seen. In addition to culminating in a grounded understanding of ideation and study drawing as forms of intuitive and reflective thought, this work consolidated the notion that artistic activities have thrived in the cultural selection of human history due to assembling common meanings. It also opened new paths: the intuition-genius dichotomy led to gender issues; artistic value as a community aggregator and instrument for empowerment was based on Dewey's Pragmatist Aesthetics. The appeal of interdisciplinary studies, community engagement and social impact resulted in an art-based project with survivors of abuse staying in shelters. After 5 funding applications I obtained a grant for an artist residency in a London University, where I teamed up with two local researchers as Co-PI. After conducting a series of workshops in rural Portugal and in London, we disseminated the project from different disciplinary perspectives through traditional and non-traditional outputs (2 book chapters; 2 journal articles; 1 online journal article; 2 exhibitions; 1 website, 3 conferences; 1 conference symposium and workshop). Preferring research which informs and develops practice, while impacting society in a direct manner, I have been invested more in recent years in my art making and in projects that enable such research. These include the creation of two post-graduate courses (Artistic Methods for Social Research and Intervention; Collaborative Methodologies in Art and Design) and the participation in three funded projects (one international research project on image and violence; two community development projects with an artistic production strand). Overall, the latter resulted in 6 pop-up exhibitions, 3 communications, a round-table, workshops, and an extended journal article (30 pp.) in an open-access special edition. Furthermore, I have developed studies on the role of Drawing in Visual Culture, Design disciplines, and Higher Education with PhD and MA students, publishing with them conference papers, journal articles and book chapters (further detailed in CV). I have also contributed to peer-reviewing for international scientific journals and have served on 3 scientific committees. Additionally, I have exhibited my work per invitation multiple times both in group and one person shows, with work being disseminated in mainstream and specialised print and audio-visual media. The interest in art-based, practice-based, practice-led research and research by design led to creating a research group joining researchers from art and design fields from the Faculties of Architecture and Fine Arts, UL, where we plan to establish the background for the creation of national scientific identifier for non-traditional research outputs, which we all deem crucial to incentivise socially engaged research and dissemination that is not limited to the narrow academic scope.