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Abstract(s)
The emergence of photography in the first half of the 19th century profoundly shook the artistic landscape, particularly concerning pictorial realism, which was closely tied to the mimetization of the visible and the appreciation of virtuosity and rigor, invariably supported by geometry and optical devices. While some artists declared the end of drawing and painting, others took advantage of the liberation from the function of faithful representation of reality, made possible by this new medium, to embark on more experimental paths, connected to the world of sensations, concepts, and ideas, exploring a new assortment of relationships with the observer. Others, like Ruskin and Degas, also saw the opportunity to initiate a dialogue with photography, exploring the possibilities it offered regarding the perception of time, space, and matter. This complex and multifaceted dialogue has continued to the present day and is present in the work of numerous artists. In this project work, I aim to continue that dialogue with a body of drawings that seeks to explore the relationship between the photographic gaze and graphic language, while also reflecting on the transformative role of photography in the practice of drawing, analyzing how artists have integrated the modes of seeing from both disciplines to establish closer connections with the observer. This reflection is an extension of our artistic project, where photography, integrated into a spontaneous and affective universe, serves as a medium and interacts processually with the sensitivity, materiality, and expressiveness of the autographic gesture of drawing.
Description
Keywords
Desenho Fotografia Perspetiva Familiaridade Vulnerabilidade Perceção visual