Moldes de uma Identidade, análise prática e conceptual de um processo criativo

• Type: Academic Work
• Date: 2015

Authors

Rui Ferro (Author) FBAUP

Scientific classification

FOS: Humanities > Arts

CORDIS: Humanities > Arts > Fine arts > Plastic arts > Sculpture

Other information

Resumo (PT): Este trabalho teve como objecto de estudo o Processo Criativo tal como o autor o experimenta enquanto artista plástico, inscrito num modelo teórico-prático de investigação, baseado num projeto autoral, na criação artística. O trabalho de investigação Moldes de uma identidade – análise prática e conceptual de um processo criativo fica composto pela apresentação deste documento escrito e de nove projetos artísticos originais, inscritos no campo das Artes Plásticas. A análise prática e conceptual subsequente a esta investigação foi precedida pela eleição de dois conceitos chave nos discursos artísticos do autor: Moldagem e Identidade, que se refletem no título. Contudo, um quadro conceptual mais complexo foi organizado como ponto de partida desta investigação, envolvendo também os conceitos de Violência e Processo Criativo. Nesta investigação, pelo seu carácter autoral, ainda são reflectidos dados biográficos do autor, correlacionados com a história recente de Portugal e do mundo. Serão também relacionados dados da formação específica em Artes Plásticas – Escultura, nos anos 90 do século XX, na Faculdade de Belas Artes da Universidade do Porto, com dados da condição de docente do ensino superior artístico em Portugal, no presente, assim como com dados do modo idiossincrático com que o autor processa os seus discursos artísticos e recolhe referências de vários universos da realidade contemporânea. Este trabalho expõe um processo de tentativa de autognose do indivíduo e, ao mesmo tempo, de centragem do autor, enquanto artista plástico, perante o universo das Artes e da atualidade, estruturando por fim uma representação identitária específica que, em última análise, corrobora a definição de José Gabriel Pereira Bastos que diz serem estes “actos discursivos performativos e retóricos, que constroem realidades linguísticas e as manejam a favor dos sujeitos enunciadores.” Tendo o objecto de investigação circulado em atelier entre o desenvolvimento de uma pesquisa prática, tecnológica, oficinal, e a pesquisa teórica do quadro conceptual definido, experienciou-se o processo de elaboração desta dissertação de Doutoramento como o de desenvolvimento de uma obra artística, isto é, segundo o Processo Criativo tal como o autor o experimenta enquanto artista plástico e que, fatalmente, condiciona a totalidade das dimensões da própria vida. Mais do que tudo, este processo de investigação marca um momento e uma experiência significante, desde logo, para o autor, que remete os seus resultados aos interessados, com o mesmo desejo inerente a todas as suas produções plásticas e que poderá ser traduzido pelas palavras de David Smith: “I haven’t thought what it is for, except that it is made to be seen. I’ve made it because it comes closer to saying who I am than any other method I can use. This work is my identity. There were no words in my mind during its creation, and I’m certain words are not needed in its seeing; and why should you expect understanding when I do not? That is the marvel – to question but not to understand. Seeing is the true language of perception. Understanding is for words. As far as I am concerned, after I’ve made the work, I’ve said everything I can say.”

Abstract (EN): This work had as its subject the creative process as the author experiences them as a plastic artist. It embraced a theoretical and practical research, based on an authorial project in the artistic creation. The object of the research Moulds of an Identity – conceptual and practical analysis of a creative process is composed by the presentation of this document and of nine artistic original projects within the field of the plastic arts. The practical analysis ensuing this research was preceded by the selection of two key concepts in the artistic discourses of the author: Moulding and Identity, which are reflected in the title. However, a more complex conceptual framework was organized as a starting point of this investigation, also involving the concepts of Violence and Creative Process. The research process was structured into four parts, according to the assigned concepts, each of them being developed into three sections. This division into sections allowed to subdivide the focus of the approach to each concept. Thus, for each concept discussed in this research in the first section, it is presented and generally conformed to the required specificity compared with its artistic field, and then reduced to the framework required by this work. In a second section, the conceptual focus is centered in the field of the Arts, in a review of works and contributors as references to the author’s plastic production. In a third section, the total flow of information generated is contextualized, translated, filtered, applied and reflected in the original artistic projects developed in this scope. Due to its authorial nature, some biographic data of the author will be reflected in this research, which is also correlated with the Portuguese and the world’s recent history. Data of the specific education in Plastic Arts – Sculpture, of the 90s of the twentieth century, will be correlated with data of the artistic professor condition in Portugal in the present, and with data from the idiosyncratic way with which the author handles his artistic discourses and collects references from various universes of contemporary reality. This paper exposes an attempt process of autognosis of the individual and, at the same time, is centered in the author as an artist, before the universe of the Arts and actuality, structuring finally a specific identity representation that ultimately supports the definition of José Gabriel Pereira Bastos, who claims that these are "performative and rhetorical discursive acts that build linguistic realities and wield them in favor of the enunciator subjects." The object of research circulated in ateliers, between the development of a practical, technological and workshop investigation and the theoretic research of the conceptual framework pre-established. The elaboration process of this PhD dissertation was experienced as the development of an artistic work, that is, according to the Creative Process as it is experienced by the author as Plastic Artist and that, inevitably, conditions the totality of the dimensions of his own life. The same feeling is attached to all his plastic productions, which may be translated by David Smith’s words: “I haven’t thought what it is for, except that it is made to be seen. I’ve made it because it comes closer to saying who I am than any other method I can use. Thiswork is my identity. There were no words in my mind during its creation, and I’m certain words are not needed in its seeing; and why should you expect understanding when I do not? That is the marvel – to question but not to understand. Seeing is the true language of perception. Understanding is for words. As far as I am concerned, after I’ve made the work, I’ve said everything I can say.”

Language: Portuguese

Type (Professor's evaluation): Scientific

No. of pages: 297