Publicação
O risco do risco: ponto e linha sob a pele
| Resumo: | Tattooing, as an ancient human culture, is at a point of technological development and social normalization that instigates its research on more conceptual levels, without losing its ritualistic aspect. The motivation for this work is the search for new approaches to this ancient practice that has undergone various incarnations and traditions throughout history in different societies. Printing and expression meet and merge during the research conducted at Faculdade de Belas Artes da Universidade de Lisboa. Through my presence in the Glass workshop, the work acquired a practical component that guided the development of the processes created in this project, with very detailed descriptions of each step. At the sarne time, the text is based on theoretical questions about Drawing in tattooing, closely related to the equipment <needle> and its repetitive unitary marks, in addition to a historical survey in eight case studies, from antiquity to the present day. The process of marking the skin with indelible drawings involves an immense responsibility, because every time the needle pierces the skin there is risk involved. The drawing medium is another human being who will have the tattoo artist's gestures permanently marked on them, in addition to the health risks involved in the process, even with all biosafety protocols in place. This research moves towards two strands of practical projects, which explore how the material of the medium influences the drawing. On the one hand, drawings on paper that correlate conceptual characteristics and limitations of tattooing, such as permanent choices, the fragility of the medium, the overlapping of layers. On the other hand, the development of the Tattools, modular glass objects that print unique designs on the skin, seeking subjectivity in the process of applying the tattoo, which is usually very objective. |
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| Autores principais: | Rosas, João Vítor Moreira |
| Assunto: | Tatuagem Risco Vidro Impressão Permanência Estudos de caso |
| Ano: | 2025 |
| 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: | Tattooing, as an ancient human culture, is at a point of technological development and social normalization that instigates its research on more conceptual levels, without losing its ritualistic aspect. The motivation for this work is the search for new approaches to this ancient practice that has undergone various incarnations and traditions throughout history in different societies. Printing and expression meet and merge during the research conducted at Faculdade de Belas Artes da Universidade de Lisboa. Through my presence in the Glass workshop, the work acquired a practical component that guided the development of the processes created in this project, with very detailed descriptions of each step. At the sarne time, the text is based on theoretical questions about Drawing in tattooing, closely related to the equipment <needle> and its repetitive unitary marks, in addition to a historical survey in eight case studies, from antiquity to the present day. The process of marking the skin with indelible drawings involves an immense responsibility, because every time the needle pierces the skin there is risk involved. The drawing medium is another human being who will have the tattoo artist's gestures permanently marked on them, in addition to the health risks involved in the process, even with all biosafety protocols in place. This research moves towards two strands of practical projects, which explore how the material of the medium influences the drawing. On the one hand, drawings on paper that correlate conceptual characteristics and limitations of tattooing, such as permanent choices, the fragility of the medium, the overlapping of layers. On the other hand, the development of the Tattools, modular glass objects that print unique designs on the skin, seeking subjectivity in the process of applying the tattoo, which is usually very objective. |
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