Artistic creation from a place
Final projects of the course with artist Carla Rebelo.
The project was installed in a Ruined House (front/side) located in the village of Ribeira de Pereiro (Alcobaça municipality), with its patio/garden in front of the entrance door invaded by herbs, shrubs and large trees. As a context, Nature takes the place of the buildings, it blends, little by little, into an ecological succession in which human presence is increasingly diluted in the natural landscape. The installation reports to childhood; to memories; to the happy and sad moments of a once inhabited house... Images... back to the roots... to the simple... to the essence...
Walls - structures that rise from the ground. They rise to 90 degrees from the ground they are on. In this wall, the earth is used to make the mortar, which, when properly chewed, serves as a binding material between the stones. As a whole, it is the material that least resists to time. Fragile and more delicate, it brings together and allows a large amount of balanced load. Like the cartilage in the human body that binds bones together and serves as a lining so they don't touch each other. This mortar earth also serves as a coating, a plaster that protects and hides the skeleton. Skin that prevents us from seeing what is inside, from the dermis to the hypodermis to the bone and marrow, the public and the private - the interior lives.
Self portrait on the beach
I wanted to make an intervention that was related to time. The performance was done in less than 15 minutes and I was photographed during that time. However, photography does not reveals the temporality of the event, because it only proves a fraction of a second. And this fraction is what remains of the work. It is not even a substitute, but it is nevertheless a unique record of the event. I thought about burying myself in the sand because it would be an unrepeatable moment; When I start doing it, I can no longer go back. This doing without deletions, arriving at the location and start and go to the end without stopping, as a single long movement, was what most interested me in this project.
Winter is gone: tests on the surface
Compositions reflecting on the passing of winter and the landing of snow on a concrete place: a small hill in a park in the city of Berlin. The construction of a pictorial garden using stone cubes, imaginary water and objects that show the way.
La Nostalgie du Paradis
In “Mythes Rêves et Mystères” by Mircea Eliade, “La Nostalgie du Paradis” refers to the tendency and desire to return to the connection between heaven and earth, present in various myths and rituals of different cultures and cults: in illo tempore, heaven and earth were connected, until an event separated them. In rituals, the shaman, whose modalities vary according to cultures, recreate this connection. In this installation, I intended to create a work that would function as a shaman, by uniting the elements: the paper mixes the texture of the stone, on which it was modeled after being immersed in ocean water, and on which it lies, and the reflection of the sky. The two overlapping textures were painted in watercolor with water from the local atmosphere.
Kawa: river; flow. Kami: god; spirit; long time. Kawa Kami: spring; upstream; upper stream; against flow; upward flow. Kawakami: nickname of my Japanese grandmother, who arrived in Brazil in 1938. Place chosen: The tea house was originally a tea factory, a space reserved for the processing of Camelia sinensis leaves produced in the region (between 1941-1968). The tea house represents a vestige of the presence of Japanese immigrants in Brazil and is an architectural landmark that integrates Japanese construction techniques with local raw materials. Some concepts involved in the conception of this project: ancestry, Japanese immigration, fusion of cultures, the metaphorical meaning of River, the investigation of the Tietê river (which crosses the State of São Paulo), the collection of local memories, transparency as a symbolic power, the Landscape, Nature and the expansion of drawing.
1936 (Temporary title)
A threshing floor, cork and water make up the elements from which the installation was designed. The project is divided into three phases: 1. Project study and design, carried out during the course; 2. Installation; 3. Photographic capture;
1936 is the distance traveled or to be covered. A movement in power, a movement carried out and a movement that lasts. In the reflection of the water the circle is completed. The circle presupposes a movement, a displacement that results from the memory of the place and its circumstances. "The surface (of water) becomes the expression of values, the expression of the depth" of change. And "in immobility there is the possibility of all movements(...)" Gonçalo M. Tavares in Atlas of the body and the imagination.
Listening to the gesture: 1 - I enjoy sitting.
Sound as a compositional element. Belonging.
object that is not scratched, outlined, that always has an idea. The unattainable.
I was reflecting in movement, looking at the others who were also moving in that space, internal - external place, understanding how sound could be present in this act of doing, in this act of not doing. contemplate ? aha! the sound... present.
Support is the gesture and the sound asks ..
They do it themselves.