Publicação
À superfície : processo tecnológico e pictórico
| Resumo: | The target of this research in painting is the observer. Stemming from the pictorial surface, the intention was to inquire about a process that was anchored in practical experience, from which proceeded techniques and technologies that allowed for the positioning, by similarity, of the painting and the observer in a relationship of existence. The painting presents itself here as self representative, changeable, as the case may be, acquiring a disruptive role with its tradition, making its content occupy not so much its inner space, bat rather its outer space. The productive action that flows from reality personifies the painting, while the self (the observer) becomes pictorial, forming part of a live installation. This phenomenon exists because of the reflective quality of that surface. An observational art, as a fundamental need for a dialectical reading of what is visible, is then proposed. There can be no painting without its exterior and there can be no exterior if there is no painting. Thus, we focus on the space between the different elements, that is, the painting and the human eye, that empty space being what lies on the surface of both. From the procedural link between theory and practice of the different actions of the artist and observers, from the use of diversified technological means of pictorial production, it can be concluded that painting is an inexhaustible source of representation of itself, a representation of reality and, above all, a possibility within life that manifests a transversal completeness to all areas of knowledge and beyond which are represented in the realms of what is forbidden |
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| Autores principais: | Marques, Alberto Rodrigues |
| Assunto: | Manzoni, Piero, 1933-1963 Ernst, Max, 1891-1976 Pintura Acção In-Situ Arte e tecnologia Desenho |
| Ano: | 2021 |
| País: | Portugal |
| Tipo de documento: | dissertação de mestrado |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Lisboa |
| Idioma: | português |
| Origem: | Repositório da Universidade de Lisboa |
| Resumo: | The target of this research in painting is the observer. Stemming from the pictorial surface, the intention was to inquire about a process that was anchored in practical experience, from which proceeded techniques and technologies that allowed for the positioning, by similarity, of the painting and the observer in a relationship of existence. The painting presents itself here as self representative, changeable, as the case may be, acquiring a disruptive role with its tradition, making its content occupy not so much its inner space, bat rather its outer space. The productive action that flows from reality personifies the painting, while the self (the observer) becomes pictorial, forming part of a live installation. This phenomenon exists because of the reflective quality of that surface. An observational art, as a fundamental need for a dialectical reading of what is visible, is then proposed. There can be no painting without its exterior and there can be no exterior if there is no painting. Thus, we focus on the space between the different elements, that is, the painting and the human eye, that empty space being what lies on the surface of both. From the procedural link between theory and practice of the different actions of the artist and observers, from the use of diversified technological means of pictorial production, it can be concluded that painting is an inexhaustible source of representation of itself, a representation of reality and, above all, a possibility within life that manifests a transversal completeness to all areas of knowledge and beyond which are represented in the realms of what is forbidden |
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