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A FRAGMENTAÇÃO DA MEMÓRIA, uma pintura que é uma espécie de jogo e de metáfora
Trata-se de um conjunto de 9 peças pequenas (telas de 30 x 24 cm) que têm a particularidade de serem, em simultâneo, entidades individuais e parte de um todo.
Em conjunto formam uma imagem de 90 x 72 cm, correspondente ao que seria a imagem de determinada memória. Individualmente, cada pequena tela um fragmento dessa memória.
À semelhança da forma como se processa a preservação ou desagregação da nossa memória, por vezes temos mais "peças", outras vezes menos, para reconstituir um facto ou uma determinada experiência passada. Pode faltar-nos a "peça-chave", ou mesmo uma ou outra peça de menor importância, mas sempre ausências que nos impedem de aceder à totalidade dessa experiência.
No caso desta pintura, no momento em que uma das pequenas telas for oferecida, doada ou adquirida, dar-se-á início ao processo de "fragmentação da memória", o princípio da perda progressiva da totalidade desta imagem.
Torna-se interessante pensar no destino aleatório de cada fragmento: a parede da casa de alguém, a galeria de arte, ou simplesmente perdido no espaço onde pinto. Uma incógnita. Mas perder-se-á seguramente a "memória" da imagem inaugural. O encontro com uma ou algumas das partes poderá eventualmente remeter para um trabalho semelhante ao do arqueólogo, do historiador ou do psicanalista, que procuram chegar ao sentido global a partir dos fragmentos com que se deparam.
Esta pintura (na linha do que tenho vindo a fazer), vista no seu todo, tem várias inscrições com o tipo do diálogo mental que nos ocorre no dia a dia, do qual vamos tendo mais ou menos consciência: "quero-te", "lembras-te da primeira vez que saímos juntos?", "isso é verdade", "tudo bem, logo se vê", as conversas interiores com que procuramos organizar a nossa experiência, principalmente relacional. Mas o que é desconcertante é que tais pensamentos e formas de expressão, estando lá, não são totalmente visíveis, uns ainda se apanham pelo que sobra deles, outros por intuição, de outros já só sobram vestígios. Outros estão entrecortados. Algumas das inscrições foram desaparecendo com o decorrer da pintura e nem eu me lembro delas. Tudo isto como que a lembrar que a nossa pretensão de termos preservada a memória integral da nossa experiência não passa disso mesmo, uma pretensão ou uma outra forma de ilusão.
O "quero-te", por exemplo, aparece "quero" (tela 1) "te" (tela 2). Vistos em conjunto a leitura é unívoca e linear, em separado (o que é muito mais interessante) obriga-nos a completar e a dar um sentido: Se eu tiver apenas a tela1 "quero" o quê ou a quem? Se eu tiver apenas a tela 2 na minha posse o "te" é ainda mais vago e enigmático, podendo ser muita coisa: amo-te, odeio-te, quero-te, interessante, quente, transparente, invariavelmente, irrelevante, importante, semente, tenente, triste ou contente, etc. etc. ... . Cabe-me a mim decidir, talvez uma coisa diferente cada vez que olhar para o quadro.
Às vezes há mais fragmentos na posse dos outros e é preciso humildade para lhes pedirmos para ver, como peças de um puzzle do qual já só temos uma pequena parte.
Mas cada fragmento pode vir a ser, individualmente, a partir do tal destino aleatório que a cada um está reservado, não um bocado isolado e incompleto, mas o início de um novo sentido ou de uma nova sensibilidade: uma imagem inspiradora para alguém que a tenha pendurada na parede de casa (que funciona por si mesma, mesmo separada das restantes), uma perspetiva de negócio para o galerista que a esteja a querer vender ou uma pista para um novo trabalho quando com ele 'tropeçar' daqui a algum tempo no meio da desarrumação das coisas. MARCOS MARINHEIRO, 2014.
MEMORY FRAGMENTATION, a kind of game or a metaphor
This is a set of 9 small pieces (screens 30 x 24 cm) which has the particularity of being simultaneously individual entities and part of a whole .
Together they form an image of 90 x 72 cm, corresponding to the image that would be of particular memory. Individually, each small screen a fragment of that memory.
Like the way it handles the preservation or disintegration of our memory, sometimes we have more pieces, sometimes less , to reconstitute a fact or a specific past experience. We could not have the " key piece " , or even one or another piece of minor importance, but always absences that prevent us from accessing the entirety of the experience.
In the case of this paint at the time of the small screens is provided, donated or acquired give shall initiate the " memory fragmentation " process , the principle of progressive loss of the whole of this image .
It is interesting to think of the random fate of each fragment: the wall of someone's house, the art gallery, or just lost in space where I paint. An unknown. But surely we are losing the " memory " of the inaugural picture. The meeting with one or some of the parts may possibly refer to a similar work of the archaeologist, the historian ou the psychoanalyst, for reaching the overall sense from the fragments encountered .
This painting (in line with what I have been doing) , taken as a whole, has several entries with the kind of mental dialogue that occurs in the everyday life, of which we have more or less consciousness: " I want you " " do you remember the first time we went out together ? " , " this is true " , " okay , we'll see ," the interior dialogues with wich we try to organize our experience, mainly the relational one. But what is baffling is that such thoughts and forms of expression, being there, are not fully visible, yet few are taken by what remains of them, others by intuition, the others have only traces are left. Others are interspersed. Some of the entries were disappearing over the course of painting and neither do I remember them. All this is a kind of remember that our claim of having preserved the full memory of our experience is just that, a pretense or another form of illusion.
The " I want you " , for example, appears " want " ( screen 1 ) " you" ( screen 2 ) . Taken together reading is univocal and linear, separately (which is much more interesting) requires us to complete and make sense : If I have only the Screen1, " want " what or whom ? If I display only the 2 in my possession the " you" is even more vague and enigmatic , being much: I love you , hate you , want you , you are interesting, warm, transparent invariably irrelevant , important seed, lieutenant, sad or happy , etc. . etc. . ... . It's up to me to decide , maybe something different each time I look at the picture.
Sometimes there are more fragments in the possession of others, so we need humility to ask them to see, like pieces of a puzzle of which we only have a small part .
But each fragment can become individually the beginning of a new direction, possibility or a new sensibility : an inspiring image to someone who has hung on the wall of the house (which works by itself , even separate from the others) , a perspective of business for the gallery owner that is wanting to sell it, or a new inspiring motif to me to realize a new work. Marcos Marinheiro, 2014
Together they form an image of 90 x 72 cm, corresponding to the image that would be of particular memory. Individually, each small screen a fragment of that memory.
Like the way it handles the preservation or disintegration of our memory, sometimes we have more pieces, sometimes less , to reconstitute a fact or a specific past experience. We could not have the " key piece " , or even one or another piece of minor importance, but always absences that prevent us from accessing the entirety of the experience.
In the case of this paint at the time of the small screens is provided, donated or acquired give shall initiate the " memory fragmentation " process , the principle of progressive loss of the whole of this image .
It is interesting to think of the random fate of each fragment: the wall of someone's house, the art gallery, or just lost in space where I paint. An unknown. But surely we are losing the " memory " of the inaugural picture. The meeting with one or some of the parts may possibly refer to a similar work of the archaeologist, the historian ou the psychoanalyst, for reaching the overall sense from the fragments encountered .
This painting (in line with what I have been doing) , taken as a whole, has several entries with the kind of mental dialogue that occurs in the everyday life, of which we have more or less consciousness: " I want you " " do you remember the first time we went out together ? " , " this is true " , " okay , we'll see ," the interior dialogues with wich we try to organize our experience, mainly the relational one. But what is baffling is that such thoughts and forms of expression, being there, are not fully visible, yet few are taken by what remains of them, others by intuition, the others have only traces are left. Others are interspersed. Some of the entries were disappearing over the course of painting and neither do I remember them. All this is a kind of remember that our claim of having preserved the full memory of our experience is just that, a pretense or another form of illusion.
The " I want you " , for example, appears " want " ( screen 1 ) " you" ( screen 2 ) . Taken together reading is univocal and linear, separately (which is much more interesting) requires us to complete and make sense : If I have only the Screen1, " want " what or whom ? If I display only the 2 in my possession the " you" is even more vague and enigmatic , being much: I love you , hate you , want you , you are interesting, warm, transparent invariably irrelevant , important seed, lieutenant, sad or happy , etc. . etc. . ... . It's up to me to decide , maybe something different each time I look at the picture.
Sometimes there are more fragments in the possession of others, so we need humility to ask them to see, like pieces of a puzzle of which we only have a small part .
But each fragment can become individually the beginning of a new direction, possibility or a new sensibility : an inspiring image to someone who has hung on the wall of the house (which works by itself , even separate from the others) , a perspective of business for the gallery owner that is wanting to sell it, or a new inspiring motif to me to realize a new work. Marcos Marinheiro, 2014
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