The texture of the process / Linguagem visual

Juan Miró  /  Alexander Calder

"In the work of both Calder and Miró, a delightful formal playfulness puts the spontaneous act of making in the foreground, but [...] the texture of the process also opens a subject matter that is both profound and disconcerting. Simultaneously repulsive and beautiful by reconnecting both the artist and the viewer with the preverbal world of early childhood. When experience is encoded in the processes of body sensation and memory.
Sigmund Freud pointed out that the first ego is the body ego, derived from early bodily sensations. [...] D. W. Winnicott, wrote that "the spontaneous gesture is the true self in action. Only the true self can be creative and only the true self can feel real. The true self comes from the aliveness of the body tissues and the working of body functions including the heart's action and breathing. It is closely linked to the idea of primary process, at the beginning essentially not reactive to external stimuli, but primary. The true self appears as soon as there is any mental organization of the individual at all, and it means little more than the summation of sensory motor aliveness. [...] Works of art give immediately recognizable form to experiences for which we do not have words. They create a discourse on these experiences through multiple simultaneously overlays of time and materiality, transparencies, other formal devices in a metonymic construction that is an underlined principle of what Freud called the dreamwork. It's commonly visible in children's art and it is also a percevering remnant of early thought processes present in the way in which adults organize and interpret their experience. [...] One of the outstandin features of visual thinking is that it fosters the reordering of experience in a way that reveals connections hidden or dismissed by verbal logic. Visual and verbal thinking coexist in interacting works of art as they do in dreams. We pass fluidly back and forth in our thoughts from the metonymic, to the metaphoric, to the logical. [...] Visual thinking has the ability to bypass the conscious control of language in articulating experience and to tap directly into the language of primary process. That uncensored caldron of repressed memory body experience and metonymic logic. It's also a well of conflict, and in bringing this imagery to consciousness in visual form and in manipulating the juxtaposition of the images which are used to represent it, works of art have both the dialectic and the internal strive which Heidegger alludes in his famous essay in the origin of the work of art."
Jonathan Fineberg



sobre Jonathan Fineberg