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Advisor(s)
Abstract(s)
This reflection concerns theoretical research relating to creative and artistic work in the studio, focusing on the constituent elements of the inhabiting object and the breadth of the notions of wandering as the centrepiece of artistic development. The working methodologies explored are the result of collecting elements from the space in which they remain. Painting and the utilisation of raw materials are of particular note, with the aim of elucidating the transparencies of a past in constant oscillation between being and non-being. The encounter with the world is perceived and reinterpreted in the visual construction, exploring the notion of the body, which occupies and extends materially in favour of an attempt of expression that reflects the thinking of creation as mediation. In the context of contemporaneity, it reflects on captured moments, based on the horizontality of creation and the multiplicity of reflections that free our universal knowledge for the known present. The notion of time is completely overwhelmed, giving way to the absence of being and, perhaps, to the universal being that extends to us – our perpetuation. The essence of a series of actions within the urban environment is extracted, resulting in a space characterised by a deficiency of colour, which alludes to both personal and collective memory, as well as to transient thoughts or anonymous markings. Nature, as a nuanced component of a larger entity, manifests itself in response to our condition, assimilating its surroundings as an expansive organism in its natural state. The painting serves as a medium for reflection, showcasing its cycle of degradation and corrosion, which is on the verge of abandonment. This cycle serves as a metaphor for what lies concealed, and its presence serves as a poignant reminder
Description
Keywords
Pintura expandida Aproveitamento Processo Corpo Habitar Transparência Degradação Meio urbano