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)

Nocturnus Itineri Sudario Secundus, 2009

Impresso, 41.50 X 30.00

Works, Series and Collections: Figura (Figure),Mascara video installation,Sudario (Shroud)

Expositions: Contemporâneos 2021

Nocturnus Itineri Sudario

Night walking shroud

My commentary

 

A first photo of the theme was made to integrate one of the sections of the S8 Ou.
Curator Frnciso Salas framed this first photo and exposed it, without title, in I Walk the Night, 2019, Gallery PM8, Spain.

Untitled at the time but with at least two autonomous derivatives with Sudario as title, it occurred to me to identify them as a series, from that exhibition on, with first and last name.
The first one, that was in the exhibition I Walk the Night, "et our cause", became Nocturnus Itineri Sudario, Primus. The other derivatives were called Nocturnus Itineri Sudario, Secundus and Nocturnus Itineri Sudario, Tertius (Shroud for Night Walk, First, Second, Third).

As I am a storyteller, here are a few ones related to all this: I do not remember when, in conversation with Emanoel de Melo Pimenta about things like that he advises me "give a name in Latin and that's it". I did.

Gastão Magalhães, today a nominated artist, at the time, when my student of Communication Theory at FAAP, the Armando Alvares Penteado Foundation, spat on a theoretical test sheet, scribbles "all the artist spits is art" and leaves.
I resorted to Emanoel in the need I felt to identify each piece in this series and I used Gastão Magalhães to understand the collecting stuff in my drawers by curators.

And, of course, I used the title of the delicious Gerifalto Primus et Secundus by Celso Paulini, São Paulo, S/Ed, 1979.
Where I learned that

"O amor é nu. É forma e sobressalto.

..."

(Love is nude. It is a form and a startle)

Gabriel Borba, 2020