Drawing, collages and related

Drawing

My commentary, 2018

 

Drawing has been a way of thinking.

 

Carlos Fajardo says that "drawing is the space between", Desenho como Instrumento, Cooperativa dos Artistas Plásticos de São Paulo, 1979. Of course.

A portrait, even a caricature, is precisely what is between the several turns of the line. A line that somewhat determines the quality of its expression. Ironic, funny,denouncing ...

But What about the circle?  Is it that the circle is  itself its surrounding line or the disk that is, actually, the "space between"? Here no deformation is allowed except for the quality of the line: hue, value, sensitivity ... The disk, though, will always be the same

 

Phrase attributed to Picasso draw my attention: "Before a painting was a sum of additions. With me a painting is a sum of destruction. "

 

Such things would destroy the circle. They would overshadow the disk to construct an expressive far-reaching mode than the specific object of that drawing. Meaning that it goes beyond the "space between".

The space around, them?

Or better, the "space between" those who see and that wich is seeing.

 

Note: In this website Photos; Photomontage; engraving and other printed matter are classified as Drawings, collages and related

Gabriel Borba, 2018

Conjunto da Obra

A Mão da Moça (The Hand of the Girl)

Apenas (Just)

Cartas de Alexandria (Letters from Alexandria)

Cicatriz (Scar)

Corpo che cade

Deconstrução

Figura (Figure)

Gestörte Numeration

Hino dos Vencidos (Anthem of the Defeated)

Imagens de Urgência (Urgency Images)

Jaula da Anta (Tapir's Cage)

Lembranças de Viagem (Travel Souvenirs)

Limiar do Visível (Threshold of the visible)

Mascara video installation

Nós (Us or Knots)

O Estado das Coisas (The State of Things)

O Gato Acorrentado a Um Só Traçado (The Cat Chained to a Single Stroke)

Objeto ME

Objeto ME az

Objeto ME az, 1981

Heliografia com madeira e fio, 53.00 X 55.00 X 0.00

Works, Series and Collections: Objeto ME

Objeto ME vm

Objeto ME vm, 1981

Heliografia com madeira e fio, 51.00 X 52.00 X 0.00

Works, Series and Collections: Objeto ME

Obra esparsa (scattered works)

Opereta

Pequeno Mobiliário Brasileiro

Portraits

Rebusteia

Risco Arisco (Risky Risk)

Saga do Guerreiro Morto (Saga of the Dead Warrior)

Série Carnavalesca (Carnival Series)

Sudario (Shroud)

The Lady I long for

TRÄMA

Transparências (Transparencies)

Visitando Miró (Visiting Miró)

A Mão da Moça não Sabe Costurar, 1979

Nankin e aquarela sobre papel, 22.50 X 15.20 X 0.00

Works, Series and Collections: A Mão da Moça (The Hand of the Girl),Obra esparsa (scattered works)

A Mão da Moça

The Hand of The Girl

My commentary

 

Years earlier I visited Milor Fernandes. I was enchanted with the way he did his drawings. Scribbles, collages and figures were made for printed reproduction in newspapers or magazines. They had, in their originals, disastrous appearance. Gradually I realized that everything was to be homogenized when printed. I realized that the mixture of cutouts, bottle cap, scribbles would be acomplished when printed. It had an expressive purpose that would be fulfilled later.

I thought about it for my participation in the planned exhibition of xerox printings.
I imagined that the xerox copy could introduce a contestatory practice, rather than an innovation, in the art circuit. For example, to sign and number a copy with Number/Infinity instead of a limited number of copys as it was used in conventional engravings
Unlike Hudinilson who practiced it as his own work.
At the same time I remembered the experience with the visit to Milor.

I chose my drawings A Mão da Moça ... (The Hand of the Girl...), which were being studied for the painting of the same title, giving it contours and colors thinking about the result in the xerox reproduction. With the same purpose I kept the sheet in the notebook causing the shadows of the outline and the spiral, reproduced on colored paper.
Two other drawings followed the same principle, in these, nankin, pencil and aguada, one of them with collage.

Gabriel Borba, 2019