Utilize este identificador para referenciar este registo: http://hdl.handle.net/10451/18200
Título: O desenho das escultoras : Cristina Ataíde, Susana Piteira e Catarina Leitão
Autor: Imaginário, Joana, 1969-
Orientador: Matos, António, 1954-
Palavras-chave: Ataíde, Cristina, 1951-
Piteira, Susana, 1963-
Leitão, Catarina, 1970-
Criação artística
Livros de artista
Cadernos de artista
Data de Defesa: 28-Abr-2015
Resumo: From the work of three contemporary artists; Cristina Ataíde (Viseu, 1951), Susana Piteira (Lisbon, 1963) and Catarina Leitão (Stuttgart, 1970),a study on the drawing of sculptors, as an intrinsic process from sculptural creative act, is elaborated. In terms of methodology, we have chosen the chronological order at the presentation of the work from the three sculptors, integrating it in the four parts into wich the dissertation is divided, a path that we want from general to particular. The first part deals with the creative process of the sculptor having the drawing as a vehicle between mind and matter. It will be address some theories about the stages of the creative process from the place of subjectivity, of intention, of matter, production and percepcion. Based on several studies on the creation, will be highlighted fot this analysis phases corresponding to the Preparation, Incubation, Ilumination, Evaluation and Development. Authors like Alberto Carneiro (Minho, 1937), Marcel Duchamp (França, 1887 – 1968), José Gil (Mozambique, 1939) and Fayga Ostrower (Poland, 1920 – Brazil, 2001), whose theories are articulated with the creative process, despite their different practices, will be referred. The second part aims to expose how the expression of sculpture and drawing of the three sculptors, gives the body a vital energy that emanates from the inside, something that is always before what is given to see, but artists in question, make visible. In each, from their specific work, can be found specific elements of the language of sculpture, but on these cases, are also drawing, as space, time, scale, portability, shape, volume, line, shadow and texture. The third part focuses the studio as the place of time prior to finalization and exhibition of the works and as a medium between the beginning and end of each work, such as much of the drawing happens. The three sculptors will cross the spatial context that accompanying them during, before and after the creative process, the house. Inside will be seen sketches, projects, finish or not, materials, and from those, the ordinary matter common to them all, the paper. More specifically, because each of the artists relate differently with the workplace, will appear Cristina Ataíde travel book, the extended ateliê and the artist residency with Susana Piteira and the portable ateliê from Catarina Leitão. The fourth part is the equidistant point where other processes are addressed. The creative process, sculpture, drawing and Artist Book arise as a whole, despite the characteristics underlying the media. The book as an object that opens, closes, expands, or retracts, summarizes narratives and intentions, with the same autonomy of expression that gave rise to it, sculpture and drawing. The closed book appears in the work of the three artists as a process in which the viewer is unable to open, or, having this hypothesis turns out to be always in a situation where he have to overcome the lock object. Lists from Cristina Ataíde are understood within the concept of Artist Book as the most obvious travel books, clouds books and sketchbooks. Susana Piteira cross stone, paper and lines from a night gown. Catarina Leitão remains closest to the page, but released from it, by an architecture that does not contain but is contained, which makes and breaks itself, as one changes the perspective when walking around a sculpture. Because it is a contemporary subject and existing a certain closeness to sculptors in which the work is based, interviews will be conducted, valuing the testimony of artists, verbalizing ideas that often remain outside the exhibitions and catalogs. The main sources used are the testimonies of the artists themselves, their texts and reflections. In the case of Cristina Ataide, an important feature is the interview conducted by Emilia Ferreira (Lisbon, 1963) concerning the exebithion of Casa da Cerca and from José Gil about several works of the sculptor. In Susana Piteira will be substantial the contribution of the own interview conducted during this work. The Catarina Leitão texts will be the best source for an understanding of her work, for they will also be a constant presence in this dissertation. The texts published in exhibition catalogs of Cristina Ataide, Susana Piteira and Catarina Leitão and from other sculptors working with drawing, will also be an important bibliographical source for this dissertation, like other theses working the theme of drawing and creation. Although the study of drawing has, at present, a crucial importance in the theory of art and in the interdisciplinary, by crossing many of the means used by artists, that does not happen in its relation to sculpture. The way contemporary drawers and sculptors use both languages, in the whole formed by their work, requires a reflexion based mainly on testimonys of the artists themselves about their work processes, which, in a way, enriches this thesis and is presented as testimony of the strong relationship between the two disciplines, merging them into a whole and thus freeing up of an apparent duality
URI: http://hdl.handle.net/10451/18200
Designação: Tese de mestrado, Escultura (Especialidade em Estudos de Escultura), Universidade de Lisboa, Faculdade de Belas Artes, 2015
Aparece nas colecções:FBA - Dissertações de Mestrado

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