"Making love" - Improvisation with music, body language and projection at Cité Internationale des Arts, 2008.

Art is an effective tool for promoting change. The strength of a work lies at the junction of its sensitive and poetic character and its contents and meanings. The power of transformation it has also gives it a social-political character. For Mirian Vilela, the Executive Director of the Earth Charter International Center on Education for Sustainable Development at the University for Peace, the only experience that transforms is that which touches us, provokes emotion.
I have been looking for ways to broaden the perception of the human dimension, of the state of existence, both in the individual and collective conditions. Since 2008, all the work of a procedural nature has incorporated listening and dialogue as structural elements. Research on alternative forms of communication in human relations has inspired diverse participatory experiences.
The main aesthetic references of this research are the works of Lygia Clark and Fernand Deligny. As a theoretical base, I use the studies of Suely Rolnik, which defend art, form of expression, production of language and thought, as possible alternatives for agency, contagion and transformation. Other sources of inspiration are the publications of Rubem Alves, Gilberto Safra and Moshe Feldenkrais.
Several forms of DIALOGS have been investigated: DIALOGS WITH PAINT, I IS ANOTHER, MESSENGERS, INTIMATE LANDSCAPES, PARALLEL VERSES, BODY & LANDSCAPE, ART BABEL, and SYMBIOSES.

Dialogs on glass - Participatory experimentation of painting dialogue on glass at the 48 HS event in São Paulo, 2015.

In DIALOGS WITH PAINT, I investigate possibilities of dialogues, connections and bonds, using colors, paints and brushes, instead of words. The idea is to subvert the traditional forms of language, to replace the verbal form with creative, aesthetic ways of communicating to favor the fluid and spontaneous expression of feelings and emotions, and perhaps to reach deep levels of understanding. The affective dimension is a determinant in this process.
Several forms of dialogs have been investigated: DIALOGICAL PAINTING, PORTABLE DIALOGS, DIALOG WITH BOHDY, DIALOGS ON GLASS, and COLLECTIVE CONSTRUCTIONS.

Dialogical Painting - Participatory experimentation of painting dialogue with projection at the 48 hs event in São Paulo, 2015.

DIALOGICAL PAINTING
Action with public participation
Experience of dialog with projection and painting or drawing
2019-2016
In DIALOGICAL PAINTING, the participants communicate through brushstrokes of paint integrated with digital projections. For each dialog, two previously prepared canvases are stretched and two equal sets of paints and brushes are arranged on benches in front of the canvases. Two webcams, with each one directed at a canvas, are connected to projectors, with each of these also directed at one of the canvases. While a camera captures what happens on canvas A and the projector connected to it projects the image on canvas B, the other camera captures what happens on canvas B and its projector projects the image on canvas A. The canvases with the projections work as mirrors and there is an echo that forms in the images. Participants begin to paint together, guided by the projection of the evolving paintings, and the echoes caused by the mirroring of the images. The action ends when they both stop painting. Projections integrated with the paintings on the canvas show two similar hybrid images. When the projectors are turned off, the dialogue stops. The two canvases, side by side, complement each other, but do not result in a completed integrated painting. They rely on virtual intermediation to re-integrate. What remains of the action when it ends is its marks, its vestiges. The actions are filmed and testimonials from the participants are recorded in audio. The images of the individual paintings are photographed and digitally fused. In this way, new fictional dialogues can be printed.
DIALOGICAL PAINTING lead to a reflection on the implications and limits that the physical and virtual realities entail, and constitute an alternative for their integration.
The project was conceived in 2012. However, the first painting only happened in November of 2016 during the 2nd EDITION OF THE FESTIVAL DE ARTE 48HORAS. Action records with public participation can be seen on the links below:
Since then, several dialogs have been carried out.

Portable dialogues - Participatory experimentation of portable painting dialogue with graphite and acrylic on paper, 2016.

PORTABLE DIALOGUES
Action with public participation
Experience of dialog with graphite and acrylic paint on paper
2018 – 2016
These actions are a "portable" alternative for conducting dialogues with painting in public circulation spaces. In this case, the participant is invited to interact simultaneously with acrylic paint and brush consecutively on three sheets of paper in postcard format. After the experience, participants’ testimonials are recorded in audio, and records set up with annotations on impressions and questionings. Future actions will be filmed as a record.

Dialog with Bohdy, 2017.

DIALOG WITH BOHDY
Action with public participation
Experience dialogue with ash, charcoal and acrylic gel on canvas
2017

The invited participant for this dialogue was a hyperactive 3-year-old child. The action was filmed.

Dialogs on glass - Participatory experimentation of painting dialogue on glass at the 48 HS event in São Paulo, 2015.

DIALOGS ON GLASS
Action with public participation
Experience of dialogue with acrylic paint on glass
2016

One of the actions with the public held during the 2nd EDITION OF THE 48 HOURS ART FESTIVAL was the DIALOGS WITH PAINTING ON GLASS. In this, the dialogues are made on a plate of glass. The participants are face to face with the plate between them. The transparency of the glass makes it possible to merge the brush strokes as they occur.

Collective construction at EDUCANDÁRIO DOM DUARTE, São Paulo, in 2012.

COLLECTIVE CONSTRUCTIONS
Action with public participation
Experience of collective painting on canvas or paper for the project MESSENGERS
2019 – 2005

Video projection at the Convergences art event, in São Paulo, 2012.

BIBLIOGRAPHY
Books, articles and theses
ALVES, Rubem. Variações sobre o prazer. São Paulo: Planeta, 2014.
BASBAUM, Ricardo. Within the organic line and after, in ALBERRO, Alexander e Buchmann, Sabeth, (Eds.), Art after conceptual art, Massachusetts, MIT Press, Viena, Generali Foundation, 2006.
BRUBER, Martin. Eu e tu. São Paulo: Cortez & Moraes, 1979.
CLARK, LYGIA. A propósito do instante [1965a]. Disponível em: <http://www.lygiaclark.org.br/arquivo_detPT.asp?idarquivo=19>. Acesso em 12/11/2010.
______. Bichos [1960a]. Disponível em: <http://www.lygiaclark.org.br/arquivo_detPT.asp?idarquivo=15>. Acesso em 12/11/2010.
______. Caminhando [1964]. Disponível em: <http://www.lygiaclark.org.br/arquivo_detPT.asp?idarquivo=17>. Acesso em 12/11/2010.
______. Descoberta da Linha Orgânica [1954]. Disponível em: <http://www.lygiaclark.org.br/arquivo_detPT.asp?idarquivo=6>. Acesso em 12/11/2010.
______. Do ato [1965b]. Disponível em: <http://www.lygiaclark.org.br/arquivo_detPT.asp?idarquivo=18>. Acesso em 12/11/2010.
______. Especulações sobre o espaço-tempo. Disponível em: <http://www.lygiaclark.org.br/arquivo_detPT.asp?idarquivo=12>. Acesso em 12/11/2010.
______. Nós somos os propositores [1968]. Disponível em: <http://www.lygiaclark.org.br/arquivo_detPT.asp?idarquivo=25>. Acesso em 16/03/2011.
______. O vazio pleno [1960b]. Disponível em: <http://www.lygiaclark.org.br/arquivo_detPT.asp?idarquivo=16>. Acesso em 12/11/2010.
FABRINI, Ricardo Nascimento. O espaço de Lygia Clark. São Paulo: Atlas, 1994.
FELDENKRAIS, Moshe. Awareness through movement.: health exercises for personal growth. New York: Harper Collins Publishers, 1990.
HOUSTON, Jean. A redescoberta do potencial humano. São Paulo: Cultrix, 1997.
NACHMANOVITCH, Stephen. Ser Criativo – O Poder da Improvisação na Vida e na Arte. São Paulo: Summus Editorial, 1993.
OSTHOFF, Simone. Lygia Clark and Hélio Oiticica: a legacy of interactivity and participation for a telematic future [1997]. Disponível em: <http://www.leonardo.info/isast/spec.projects/osthoff/osthoff.html>. Acesso em 12/11/2010.
ROLNIK, Suely. Arte cura?. Disponível em:
 <http://www.pucsp.br/nucleodesubjetividade/Textos/SUELY/Hibrido.pdf>. Acesso em 12/11/2010.
______. Geopolítica da Cafetinagem [2006]. Disponível em:
 http://www.pucsp.br/nucleodesubjetividade/Textos/SUELY/Geopolitica.pdf. Acesso em 12/11/2010.
______. O ocaso da vítima. In: ARS - Publicação do Departamento de Artes Plásticas da Escola de Comunicações e Artes da Universidade de São Paulo. N. 2, v.1. São Paulo: 2003, p. 79-87.
SAFRA, Gilberto. A face estética do self: teoria e clínica. Aparecida, SP: Idéias & Letras, 2005.
SAFRA, Gilberto. A po-ética na clínica contemporânea. Aparecida, SP: Idéias & Letras, 2004.
SANTOS, Milton. A natureza do espaço: técnica e tempo, razão e emoção. São Paulo: Edusp, 2008.
______. Pensando o espaço do homem. São Paulo: Edusp, 2007.
TARKOVISKI, Andrei. Esculpir o Tempo. São Paulo: Martins Fontes, 1998.

Catalogs and folders
PINACOTECA DO ESTADO DE SÃO PAULO. Lygia Clark, da obra ao acontecimento. Somos o molde: a você cabe o sopro. Catálogo da exposição (curadoria de Suely Rolnik e Corinne Diserens). São Paulo: Imprensa Oficial, 2006.
MUSÉE DES BEAUX ARTS DE NANTES; PINACOTECA DO ESTADO DE SÃO PAULO. Lygia Clark, da obra ao acontecimento. Somos o molde: a você cabe o sopro (curadoria de Suely Rolnik e Corinne Diserens). São Paulo: Imprensa Oficial, 2006.

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