Esmaltes cerâmicos de cinza: um dispositivo relacional como possibilidade de reconexão ser humano/natureza por meio da arte

Abstract

This research’s theme is the creation of production processes for ceramic glazes based on vegetable ashes and proposes the investigation of these processes from the concept of relational device (BOURRIAUD, 2009; HOLMES, 2006), generating meetings of people for the exchange of knowledge and the meeting of the work of art with the spectator. The covid-19 syndemic, already in course before my admission at the master’s degree, led to reflection on the need to develop new ecological, micropolitical and microsocial practices, associated with aesthetic practices. In this scenario, the theme proved to be significant, as it corroborated to the importance of ecosophic practices in the ecological records of the environment, in social relations and in human subjectivity (GUATTARI, 1990). Therefore, the research presents wild clay collection practices and the use of ashes as a way of reusing waste. The author discusses the context of the territory she starts to inhabit, which has become her home and studio, and seeks to show that, through the relationship between this territory and ceramic art, it is possible to become enchanted (KINCELER, 2008) and establish a reconnection with the nature cycles. The trajectory is described from the encounter with ceramic art and collaborative processes until entering the PostGraduate Program in Visual Arts (PPGAV) at the Federal University of Pelotas (UFPel). Cartography, autobiography – with an emphasis on autoethnography – and bibliographical research were used as methodological support, which complemented each other during the research. To think about the collection of materials used in this research, the artistic process is presented with the concept of gleaning (VARDA, 2000) of vegetable ashes and wild clay from the perspective of visual culture (LODDI; MARTINS, 2009). Fire is considered a key element in the process, which also highlights the need to reconnect human beings with the cosmos, interweaving ceramics and wabi-sabi aesthetics (IKISHI, 2018; KEMPTON, 2018; KOREN, 2019; SAINT CLAIR; RIBEIRO, 2016) with spirituality. Some of the author’s individual artistic productions and collective productions are presented, such as the poetic proposition Shares (Compartilhamentos, originally), accompanied by the concept of “thing” (INGOLD, 2015).