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)

Jaula da Anta heliografia, 1976

Heliografia com madeira e fio, 47.70 X 57.00

Works, Series and Collections: Jaula da Anta (Tapir's Cage)

Expositions: Copy Art in Brazil, 1970-1990, Espaço B, In Contextu, IX Congresso Brasileiro de Arquitetos

 

Jaula da Anta, blueprint, 1976

Tapir's Cage

May commentary

In August of 1976 I enrolled in the National Architecture Exhibition of the IX International Congress of Architecture and Urbanism, in São Paulo, and presented the project Jaula da Anta (Anta’s Cage), in blueprint from a drawing on tracing paper.

To the drawing seen here was added a side banner with the title of the exhibition and the congress (obligatory) and, by my account, a "describing report" saying:

 

"There are two architectures

one large, monumental

and another simple and close.

 

 That one of the nation, of the continent,

of the world.

This one, of the Anta (tapir),

 

the rest is nothing but cement

(in Portuguese this last sentence can also be read as

The rest is forgetfulness)”

 

Below this image, there is a more elaborate drawing, also in blueprint and collage, of the same size, preparatory to the drawing that went to the Biennial of Paris, the following year, for which I was invited.

As in Aesop, the allegory of the figures chosen to compose the project induces meanings beyond their appearances. Rope, feather and anta (tapir) are figures of popular sayng that, once used in the same sentence, can project a significant universe. Try it: "You are an Anta ( so dumb). Too bad (uma pena= a feather) you stretched the rope until it cracked"

 

The easel, support of things, as I have draw it, let you read name ANTA. It is connected to the video ME, in which the subject is replaced by an abstraction of itself. And also, with some effort, it's similar to the mirror scene in Us Version II.

Gabriel Borba, 2019