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Other books in the series. Books by J. Trivia About Eu adoro Monstros This "being outside" consistent with a separation that corresponds to the performance of another role, can be taken as a symbolic arrangement of diverse roles that the artist plays daily. Portraits have always been mechanisms of great complexity throughout the history of art. They give us many opportunities to glimpse at the political dimension of the painting in its structure of distinctions of the artistic genre as well as its aesthetics and inventive dimension. In the performativity in the portrait, we observe various manifestations that are instrumental for us to understand the experience of the artist in her studio as a foundational locus of artistic production, which is becoming a place of science in the 17th century until the post-factory complexion, after Andy Warhol turned his workspace into a place of production in series.

Since then, the studio seems to be pervaded by a certain degree of suspicion, especially if there is a woman artist doing a painting. In a way, it broke with the concept of a design studio as the topos of the genius male artist that solitary lived in it and impregnated it with assistants as in a factory, in addition, of course, to imprint to the working area the production in series. We cannot forget that the studio has been inhabited for a long period of time by other individuals besides the artist, as his assistants, models, friends and employees, among others.

The political implications of this coexistence, often loaded with tension, animosity and even subservience, were always recurrent in the working universe of the studio and have been dramatized in several levels throughout the history of art.

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The conflict at times makes clear the projections drawn and painted by the artist herself as well as her attempts of some solution to this strange feeling of identification be dissuaded from such ambiguous condition. For women artists who work with the model, it is necessary to live with this psychological.

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In the process of painting, this is lost on the edge of dissolution between the figure and its representation. The figure in the painting moves as if it were alive until finally rests at the completion of the job. It looks for a structure inherited covertly, away from pure representation of the subject.


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It is a female figure of a naked model reclining comfortably on an armchair, her legs resting on the arm of the furniture that allows her to rest, showing total detachment. Her arms are reclining above the shoulders, completely displaying her breasts and a slight bulge of her pubic hair. The treatment of the painting shows a physical voluptuousness, including the visible mark of the breasts, which, once denuded, are shown with her white skin that stands out from the rest of the body.

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In the portrait of this model appear in a certain way, Orientalist projections not colonial in this case of the artist, although it must be pointed out that it is a demonstration of female heteronormativity a Japonism transformed into illusory vulnerability as a geisha, as the figure that confronts us with an unashamed body, aware of the illusion vengeance of its aggressive passivity. The representation of the body in this painting marks this reiteration of the female, causing interference in the credibility of fetishism.

Still, it would be hard to believe in the truth of this portrait as a resonance of a world without psychic barriers acting on the body. It is therefore a mistake. After all, the control of the body converges various structures of repression, and tends to conclude that the strongest of them is the social space when, in fact, the bourgeois interior of the house - the kitchen, the bedroom and the living room — constitutes distinct faculties of normative instruction as a way to create moral and emotional value that imprints considerable limits to the body.

The artist did this painting in the environment of Escola Brasil: though, as it happened several times, she finished it in her studio, when she added the surrounding elements, such as the fruit tray on the table, a clear reference to still life, a genre of painting widely considered innocuous by art history, but here just shows that, in the midst of this turbulent and subliminal liberal sensuality, there are other components that are equivalent in references to sexuality, especially those that populate the home environment, be it the studio, the inside of the bourgeois residence.

The fruit on the table still accentuate the oral character of this painting, while its possible introduction by mouth seems to imprint this portrait a repressed erotic impossibility, but likely to manifest at any time, even in a patriarchal environment that assures normative rules which subject femininity to a condition of masking function of the sexual freedom of the female body.

Apparently, the artist works in portraits avoiding these erotic and sexual issues that can be classified as sensual, although they are inherent and always come to tell her reaction in a feminist way even to show her surviving side in this patriarchal life. In contrast, here the similarity is purely coincidental, since we can say that the Brazilian view of a studio is much more precarious, without the mentality of enterprise and always being immersed in the crisis of the social dimension of art, especially a painting in the Brazilian context.

The artist takes up, besides doing it, the task of being somehow careful in order that everything does not collapse without a real professional support, a common state of artists working without an extensive marketing structure of institutional support, still rare in the country. For the artist, the artistic enterprise then takes on the flavor of an underdeveloped adventure.

In precarious "factory of Brazilian art", what is often seen is a lot of mold eroding and dismantling the works that wait indefinitely for something new to happen, for recognition to materialize, causing an intermittent allergy that sometimes seems to be reflected in the work. In another painting, Untitled [Fig. Imagining the painter herself in front of the canvas, we can conclude that it is as if she was looking at herself, or was reflected on the canvas that is being painted in a process of simultaneity that disperses the condition of the painting as being tied to the time of its completion and that throws to the fictional dimension of image phantasmagoria.

The artist paints from memory, but does so by promoting a descriptive version of the impossibility of time to anticipate the act of doing the image represented. In , for example, Gilda painted the portrait of a singer friend called Sally [Fig. This is a figure shrouded in a spot that simulates a suffocation of the voice that the figure seems to project. The emotional dimension of singing becomes impossible to be represented in the painting and becomes a strange challenge contrary to the experience of sound. Even so, in several of her paintings, the artist continues to insist on this kind of difficulties of transforming sensations and experiences in pictorial material by way of the material reality of the painting.

Although her painting often arises from a drawing as a primary source, it is later added with information from various sources. Observe, for example, a reclining female figure made in acrylic paint and clay, Untitled [Fig.

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There is a deletion and a disembodiment of these images, making such female figures hold only a frail look threatening all the time to disappear from the canvas surface. It is possible to observe in this and in another painting that depicts the same figure, Untitled [Fig. These two paintings still find resonance in the drawing Srebrenica [Fig. The closed eyes of the reclining female figure and the tone of bones imprint a mortuary aspect that seems to have faded by time, which is also a body thrown in the cold and at the disposal of generic figures with no identity.


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Thrown backwards in an ambivalent situation between joy and death eros and thanatos in convulsion , the portrait rekindles a recurring feature: the repression and transgression of female sexual topography in binary opposition. The artist also made a piece in bronze, whose cast was done in clay and that accounts for the feminine jouissance. The figure also remains in a place. Certain aspect of spontaneity seems to become visible in these paintings through her brush strokes, although the appearance is just a mistake and it attests again proving one of the most important characteristics acquired after modern painting, that is, to conceal the development of gesture in the process resulting in a manifestation which appearance is, in most cases, conflicting with the procedure that generated it.

As I had observed on another occasion: Strokes have been systematically studied as a source capable of allowing scholars to investigate questions about artistic intention and the conceptual foundations related to pictorial space. For example, studying the painting methods of modern painters and find the slow pace in the stroke of various artists, historians were able to establish that the effect of spontaneity in modernist painting, as originally thought and had been shown in critical and theoretical studies, was no more than mere fiction.

The truth is that much of the treatment of these paintings - and what seemed "spontaneous" - was extremely planned. Diving into the domestic sphere once again is determined by the concerns of the female artist with the feminine universe in its various social stratifications that ensure the maintenance of agreements, including the one of who serves and who is served.

The transparency of the glass becomes an entanglement of loose parts of bodies in space, as if the movement was being recorded and printed on the canvas as the action unfolded. This overlapping of cinematic appearance is demonstrative of a movement that was also captured and is equally sublimated through the fragmented body parts and their arrangement in parts through the canvas. This issue was explored by Andrea Kirsh and Rustin S. The painting Vidigal [Fig. A certain gap that appears in the painting is a peculiar geography of the place, where the danger of the ocean reflects the dangerous instability of life in the slum, as a contiguous space analogous to painting.

The definition of space as a place of danger has been identified frequently in painting in various historical and stylistic moments.

Therefore, it is not so important that this space be identified in such a way, as is the use of motifs that were almost always considered "minor" by the canonical painting. Done in , Untitled [Fig. Based on this oscillatory ambiguity, one can attest to an intention directed to disembodiment.