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A Gravura como ocupação e desvio
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Ensaio fotográfico sobre a prática da gravura na arte contemporânea, tomando como
ponto de partida a observação de duas oficinas, em Lisboa – a MEEL e a oficina da
Galeria Diferença. O trabalho problematiza questões de distância na antropologia e na
arte: do observador em relação a uma prática que lhe é familiar e do desenho da superfície
de impressão em relação ao suporte final. Confere-se particular atenção às noções
de ocupação e desvio, apresentando como ocupações centrais à gravura a preparação e
o desenho indirecto. Uma diferenciação que não foi imposta previamente mas antes um
resultado da recolha fotográfica. Se o trabalho teve início numa observação participante
sem grandes resultados, houve uma tentativa de criar distância à prática. Decisão essa que
conduziu a visitas a outras oficinas, de modo a exagerar imagens centrais à gravura.
Visitas que marcam um ponto de viragem entre duas etapas do trabalho, cuja reflexão
passa a colocar ao centro a figura do visitante, em relação ao especialista e ao amador.
Intervalo e processo igualmente transformadores. Se a preparação na gravura predispõe
um gesto preliminar que apaga, o desenho indirecto permite desdobrar as noções de
improviso, revelação, repetição como degradação e inversão como desnorte. Por fim, a
colaboração como aspecto do desenho indirecto da gravura, entre visitantes e
especialistas, regimes de atenção e regimes de humor.
A photographic essay about the practice of printmaking in contemporary art, taking as a starting point the observation of two workshops in Lisbon – MEEL and Galeria Diferença. This work raises questions considering distance – between the observer and a familiar practice and between drawing of the printing surface towards the final support. The attention is driven towards the notions of occupation and deviation, presenting as central to printmaking preparation and indirect drawing. A distinction which was not imposed previously but was instead a result of the gathering of photographic images. If the work begun in a participant observer mode with no visible results, there was an attempt to construct a distance to the practice. A decision that led to the visits of other workshops, with an intent to exaggerate central imagery of printmaking: the cutting of metal, polishing and others. Visits that represent a turning point between two moments of the work and the reflection puts in the center the figure of the visitor, in relation to the specialist and the amateur. Interval and process equally transformative. If preparation in printmaking leads to a first gesture that erases, the indirect drawing permits the unfolding of the notions of improvisation, revelation, repetition as degradation and inversion as losing your bearings. Lastly, collaboration as an aspect of indirect drawing in printmaking, between visitors and specialists, attention regimes and humour regimes.
A photographic essay about the practice of printmaking in contemporary art, taking as a starting point the observation of two workshops in Lisbon – MEEL and Galeria Diferença. This work raises questions considering distance – between the observer and a familiar practice and between drawing of the printing surface towards the final support. The attention is driven towards the notions of occupation and deviation, presenting as central to printmaking preparation and indirect drawing. A distinction which was not imposed previously but was instead a result of the gathering of photographic images. If the work begun in a participant observer mode with no visible results, there was an attempt to construct a distance to the practice. A decision that led to the visits of other workshops, with an intent to exaggerate central imagery of printmaking: the cutting of metal, polishing and others. Visits that represent a turning point between two moments of the work and the reflection puts in the center the figure of the visitor, in relation to the specialist and the amateur. Interval and process equally transformative. If preparation in printmaking leads to a first gesture that erases, the indirect drawing permits the unfolding of the notions of improvisation, revelation, repetition as degradation and inversion as losing your bearings. Lastly, collaboration as an aspect of indirect drawing in printmaking, between visitors and specialists, attention regimes and humour regimes.