Josi
taturana que ajambra fiapo corre, from the breu imaginoso series, 2026
water from the Jequitinhonha River, jabuticaba, black beans, indigo and campeche vegetal paints, anthill soil from the Quilombo dos Ausentes, green soil from Seu Maurício
135 x 211 x 3 cm
53 1/8 x 83 1/8 x 1 1/8 in
53 1/8 x 83 1/8 x 1 1/8 in
Esse trabalho integra uma pesquisa que acontece nos panos, esticados ou não. É um percurso vindo do quaramento reverso que envolve o mergulho dos panos em bacias para então ficarem...
Esse trabalho integra uma pesquisa que acontece nos panos, esticados ou não. É um percurso vindo do quaramento reverso que envolve o mergulho dos panos em bacias para então ficarem de molho por 1 dia em preparados de nódias que trazem as primeiras manchas, as primeiras presenças. A partir delas, vou construindo as imajarias. Nesse trabalho, há um preparado com jabuticaba, fruta da época em que ele foi feito, além de feijão preto, tintas vegetais índigo e campeche, e terras que também vão peneirando as imagens. Assim como os muitos pés de taturanas, bicho que frequentou o ateliê com fervor nesses tempos de sol e chuva em que o trabalho foi feito, os cortejos de pessoas aí se atravessam em suas fazeções. O nome tem o embalo das crenças populares que são modos de acordos com o mundo que tem me interessado nessa travessia do breu imaginoso. São índices de um modo de entender a realidade, de um mundo encaixado, como diz Edmilson de Almeida Pereira em seu estudo das culturas populares e afro brasileiras em Minas Gerais, e que entendo que guardam movência similar a essa série que olha para a potência do mistério intrincado que costura um jeito de ver mundo.
-
This work is part of a research project involving cloth, stretched or unstretched. It is a process that starts with reverse bleaching, which involves dipping the cloth in basins and then soaking it for one day in preparations of nodia, which produce the first stains, the first traces. From these, I build the imagery. In this work, there is a preparation with jabuticaba, a fruit from the season in which it was made, as well as black beans, indigo and logwood vegetable dyes, and earth, which also sift through the images. Just like the many caterpillars that frequented the studio with fervor during the sunny and rainy days when the work was done, the processions of people cross paths in their activities. The name has the lilt of popular beliefs, which are ways of coming to terms with the world that have interested me in this journey through the dark imagination. They are indices of a way of understanding reality, of a fitted world, as Edmilson de Almeida Pereira says in his study of popular and Afro-Brazilian cultures in Minas Gerais, and which I understand to have a similar movement to this series that looks at the power of the intricate mystery that sews together a way of seeing the world.
-
This work is part of a research project involving cloth, stretched or unstretched. It is a process that starts with reverse bleaching, which involves dipping the cloth in basins and then soaking it for one day in preparations of nodia, which produce the first stains, the first traces. From these, I build the imagery. In this work, there is a preparation with jabuticaba, a fruit from the season in which it was made, as well as black beans, indigo and logwood vegetable dyes, and earth, which also sift through the images. Just like the many caterpillars that frequented the studio with fervor during the sunny and rainy days when the work was done, the processions of people cross paths in their activities. The name has the lilt of popular beliefs, which are ways of coming to terms with the world that have interested me in this journey through the dark imagination. They are indices of a way of understanding reality, of a fitted world, as Edmilson de Almeida Pereira says in his study of popular and Afro-Brazilian cultures in Minas Gerais, and which I understand to have a similar movement to this series that looks at the power of the intricate mystery that sews together a way of seeing the world.