Na arena e nos bastidores

• Autor(es): Pereira, Sara Cristina Ferreira, 1977-
• Data: 2014
• Identificador Persistente: http://hdl.handle.net/10451/10994
• Origem: Repositório da Universidade de Lisboa
• Assunto(s): Twombly, Cy, 1928-; Dubuffet, Jean, 1901-1985; Lapa, Álvaro, 1939-2006; Espaços; Tempo; Criatividade artística; Pintura
• Tipo de Documento: Dissertação de Mestrado
• Idioma: Português

Descrição

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2014 It is in the beginning of the creative process that the work seems more detached from reality. The subject-object relationship has yet to emerge, the space is fragmented and forms are unrelated in space and time. The work at this stage is permeable to everything that comes from the exterior, even if it is ambiguous, disordered, unexpected, unintended ... This is a privileged point for the work to relate with reality, the point where the meaning is not yet done, the form available to semantic games and open to the first emotions. The space that we want to understand herein is the one in which the creative process begins. This kind of space rises at the surface of the painting since the late nineteenth century, when the space-time of painting got separated from the space-time of the observer. This question of time becomes crucial in the way that painting and observer relate with space. This space of revelation/concealment is characterized by presences in the “backstage” outside the consciousness and that marks the beginning of the creative process: the primary process, the principle of pleasure, death and atemporality. Twombly, Dubuffet and Álvaro Lapa are references in practical research that evolves around the occupation of the pictorial space and around the question on how the initial potential of the creative process, in the mentioned “backstage”, will build an extension between the artist, the work and the observer