Artistic Preface

Accompanying artists’ development in the postgraduate stage is an intense process that requires the construction of a trusting environment in which favorable conditions are created for deep inquiries that, in turn, need openness, willingness, honesty and courage to become vulnerable. It is like agreeing to inhabit a new house where everyone goes in search of the room whose mirror contains their own reflection. Even for the teacher, it is a dark place that is created or revealed in passing. The goal of the two concurrent sequential courses is to explore the intersection of painting with drawing and the experimental possibilities of drawing as an autonomous medium. In this occasion, the doors are belatedly opened, after shaking the house in the wake of the epiphany (seismic swarm). Even so, it begins with high spirits, experiencing creative and corporal exercises that challenge our comfort zone and accelerate fraternization among peers. From day one it is evident that the six new inhabitants bring airtight luggage with them. The weekly dynamic reveals gaps and brings out strengths: spatial, textural, narrative, conceptual, for abstraction, corporal, sound. The first challenge: explore their proposal aesthetically on a roll of toilet paper. The extension, the confines and the fragility of the surface meet multiple objectives: to break with the idea of artwork as a sacred or precious artifact; expand mental boundaries about what is "appropriate" in artistic creation; and understand that the medium contributes to the narrative of the piece. In turn, it reveals individual habits that are counterproductive to practice.

Starting to mesh, a breath of wind (the Bacillus) closes the interior doors of the house and each one is trapped in the room they visit. Contrary to expectations, the distance opens up other spaces of intimacy. The game changes: it requires flexibility and agency to discover the tools necessary to survive the confinement. Fantasy becomes inhabitant of the journey inward. Fragmentation flirts with chaos; the border between the inner world versus the shared one is erased; and the past becomes future-present. Conflicts arise between chromaticism and tonal dominance. Texture becomes a sequel to catharsis. The shadow (and death) is evidence of life while fear acquires corporeality as a result of human mechanization. In the Holy wait there is no room for despair; some choose to reflect on nature, as the decomposition of psychosis helps to abstract it, to decode it and make it manageable in the vestiges of the last move.
S. Damary Burgos
Associate Professor, Fine Arts- PUCPR
July de 2020
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