Percepções de um eletrogravador: experiências poéticas com a corrosão

Abstract

This paper intends to address topics that have been relevant to my creation process, along with other issues that influenced the work that i've been performing during my master's degree in Visual Arts UFPEL. The work i present here make subtle relations between the engraving process and the marks we see throughout our daily lives. The paper is organized in a way so that it makes understandable that the poetic that arises from the engraving process is parallel to the electrolytic procedures found in metal engraving. Here i present the perceptions of an engraver. The practice is the starting point of this investigation. It's aim is to focus on the act of seeing, implying that it goes beyond the atelier walls, exploring questions and events that trespassed my mind during the two year duration of my master's degree. I acknowledge during the text the vital importance of experimenting so you can reach a full comprehension of your artistic production. Take chances, exploit events that happen by chance and remain prepared to analyse your surroundings. Those are some of the strategies that have been used during this research. My study object is composed of ten processual works, those are: Captador de Resíduos; Pequenos Naufrágios; Céu; Mapas Poéticos do Interior do Cubo Vermelho; Em Três Tempos; Paisagem Corroída; Contendo Sopro; Receptor de memórias; Projeto Matriz Compartilhada and Conexão Céu e Terra. Some of those focus on the idea of being artistic devices; artistic projects and/or artistic actions. During the text, the interpretation of those objects happens in a “river” like manner, perceiving each and every one of them in their conception, the moment in time where those pieces connect with each other through a fluid and continuous line of thought. I intend to present to you, through images and words, the moment where my artwork changes its shape, what can be understood as a “transition process” in which it leaves the atelier and invades the space. In this manner, i present acts of corrosion that divide in three phases. Each one of them contain not only records of actions that took place in the metal etching atelier but also actions made to interact with the landscape and events thar affected me in my daily life. After a while photography became a part of my work process, eventually becoming as important as engraving. The operational concepts of this poetic investigation are: to extract, to displace and to firm. Those three actions support the discussions that revolve around the alchemical processes that are needed in those artistic productions and reflections about the corrosion and etching action. To be able to advance the current researches i take as reference artists such as: Marco Buti; Robert Smithson; Daniel Senise; Elidada Tessler, Victor Gripp, Hans Haacke, Richard Long, Cinthia Marcelle, Paulo Damé, Carlos Filho and theorics such as: Gaston Bachelard; Gilles Deleuze, Virgínia Kastrup, Michel de Certau, Francesco Careri, Georges Didi-Huberman, among others.