Fragmentação e reconstituição do suporte pictórico

Tese de Mestrado em Pintura (Variante I), apresentada á Universidade de Lisboa, através da Faculdade de Belas Artes, 2008This study puts together a practical and a theoretical dimensions. It examines how pictorial support can go through a fragmentation and reconstitution process in contemporary and modern art.This research is made in order to check how the canvas, as traditional painting’s support, resists to diferent operations of fragmentation (like to cut, to rip or to fold) that threats its physical integrity. This dissertation attempts to reflect also on the ambiguity, in portuguese language, of the word "tela" (canvas) and the ambivalence of this material, which can be considered not only as pictorial element and but also as support for the two-dimensional representation. The reconstitution could be achieved by weaving all the fragments obtained by the surface’s fragmentation; in this sense, the Tapestry and other craft techniques are seen as common procedures in our practical work and in other mentioned artists’s work. This study also intends to make an analogy between: Painting, Canvas and Tapestr

Zona V (de vago)

This theoretical and practical investigation project on art has, as a starting point, a segment of territory in a place popularly known as Chelas, in Marvila, Lisbon. It is a piece of land, with an abandoned appearance, which has been in reserve for more than 50 years for the construction of an important infrastructure. There are plans for the future of its 22,887.00 m2: the construction of a higher education institution, attached to the new Oriental Lisbon Hospital. In this work, the place and the landscape are understood as active agents in the construction of group and self identity, also named as “place identity”. This research observes how can an expectant area be useful to “place identity” formation and aims to comprehend what can be the role of a “terrain vague” (crystallized and without a real relation with the urban surrounds) in the structure of the identity of people who lives around that terrain? Thus, this work uderstands that Visual Arts can constitute a fundamental contribution to the recognition, revitalization and valorization of this place, through a work that articulates different practical and theoretical actions in order reflect on the landscape and the geography of Marvila and its sites. If this empty space has great potential for social and economic development and growth of the city, we suspect that it can also potenciate certain feelings and desires in the population. This kind of place can generate dreams, anguish, pleasure, melancholy, nostalgia and many other feelings that, sometimes, a landscape can provoke in human being. The observation and the interpretation of this place through the work of art (paintings, videos, drawings, or photographs) can bring the new premises to the debate on the importance of urban voids, as open fields to the imagination and as enablers of the creation of an intersubjective net of expectations and desires in the communit