Queria a linha do desenho mais sujo, mais rasurado possível. Que a
linha desestabilizasse seu desejo mais primário e superficial, sua vontade de
controle, os limites dos seus sabidos e de suas certezas. Desafiava, na rasura,
a si mesma. O que seria de fato correr o risco no desenho? [...] Não ditos afirmados
no silêncio às vezes ruidoso da linha, linha nada linear, linha de acaso, de
rasura. Linha incontrolada, incontrolável. Havia rasgo no risco, abertura na
rasura. A criação ocorria na perda do controle. Descobrir-se era atravessar sua
própria superfície, sua imagem superficial refletida no espelho todas as manhãs
quando escovava os dentes. A rasura parecia exigir a todo instante a
distância. Distância do olhar para a paisagem do risco, dos traços. Não se
acredita na força do risco ou do rasgo na presença do modelo ideal? Há mais
potência na ausência, na completude do imaginário. Para ser alimento do
espírito a arte deveria deixar de ser espelho. Algo de aleatório é necessário a
qualquer imagem com força para mover de fato um novo olhar. Olhar de descoberta.
(26/09/13)
O papel branco chegava a machucar seus olhos. O papel creme era o certo, o
indicado; aquele que, diziam, absorvia o toque e a tinta. Nanquim. Achou que
estava odiando, o papel absorvia tudo, tudo. Lembrou-se de Louise e sua fala
sobre a decisão de abandonar a certa altura a madeira para trabalhar a pedra. A
madeira aceitava tudo, era dócil, disse ela. A pedra? A pedra não. A pedra
possuía resistência. Resistência: vontade própria. Era necessário negociar com
ela, ouvi-la. Decidiu continuar com o papel comum branco. (3/10/13)
I wanted the most possible dirty line for my drawing. As if the line could unbalance my most primary and superficial desires, my desire to control as much as the limits of what I already knew and my own certainties. By erasing, by drawing line over line, over line, I was actually defying my own self. What would it actually mean to take risks when drawing? […] “Unspokens" revealed in the line silent noise, this non linear line, this casual line, this superimposing erasing drawing line. Uncontrollable line. There was a cut in risk, there was an opening in superimposed lines. Creation happened whenever control was lost. And to reveal my own self meant to transgress my own surface, that superficial image I would stare at in the mirror every morning as I brushed my teeth. (September, 26/2013)
The white paper did almost hurt my eyes. Actually, a cream paper would be better for it was capable of absorbing touch, paint and ink. But I felt I was hating it, for the paper absorbed just everything, absolutely everything. It recalled me Louise and her speech about the decision to abandon wood at a certain point. Wood was too soft, it was too docile she sad, not the stone though. The stone was all about resistance. One could call its resistance its own will. It was necessary to deal with it, to listen to it. So she decided to keep the very plain letter size, white paper. (October, 3/2013)
I wanted the most possible dirty line for my drawing. As if the line could unbalance my most primary and superficial desires, my desire to control as much as the limits of what I already knew and my own certainties. By erasing, by drawing line over line, over line, I was actually defying my own self. What would it actually mean to take risks when drawing? […] “Unspokens" revealed in the line silent noise, this non linear line, this casual line, this superimposing erasing drawing line. Uncontrollable line. There was a cut in risk, there was an opening in superimposed lines. Creation happened whenever control was lost. And to reveal my own self meant to transgress my own surface, that superficial image I would stare at in the mirror every morning as I brushed my teeth. (September, 26/2013)
The white paper did almost hurt my eyes. Actually, a cream paper would be better for it was capable of absorbing touch, paint and ink. But I felt I was hating it, for the paper absorbed just everything, absolutely everything. It recalled me Louise and her speech about the decision to abandon wood at a certain point. Wood was too soft, it was too docile she sad, not the stone though. The stone was all about resistance. One could call its resistance its own will. It was necessary to deal with it, to listen to it. So she decided to keep the very plain letter size, white paper. (October, 3/2013)
