Self-censorship as a Processual Poetic Agent in Sculpture Creation – Artistic Projects, Processes and Practices.

This Thesis/Work of Art named A Autocensura como Agente Poético Processual da Criação Escultórica – Projectos, Processos e Práticas Artísticas (Self-censorship as a Processual Poetic Agent in Sculpture Creation – Artistic Projects, Processes and Practices) is based on the assumption that artistic truths are Works of Art. Therefore it is important to distinguish truth from reality and veracity.

Given the need to resort to written language – a universally translatable instrument – we have defined methodological criteria which are somehow connected to my artistic way of thinking and acting, through an epistol@ry system. Thus, we felt the need to articulate what is commonly understood as language, discourse, narrative, denotative and connotative character.

In general Fine Arts, and particularly in Sculpture – the area of knowledge of this Thesis/Work of Art – we consider that there is no such thing as a universal language. We do not question the existence of principles or guidelines, codes, or even approaches to grammar, but we especially favour intuition and experience and also the relevance of making use of the most diverse matters, of every language, code or grammar – hence the designation of plasticity, a synonym of malleability. So it is more correct to use Plastic Expression than Plastic Language (not to mention that in our opinion the expression Visual Arts is quite restrictive and only represents the passive acceptance of a foreign term).

We also question the possibility of putting Sculpture in spoken or written words, which is quite different of speaking or writing about Sculpture; this affects teaching in Art, since it will be different to be a student in Art or of Art.

For the above reasons, and because the Creative Processes presented in this Thesis/Work imply an umbilical connection between Art and Life and consequently between body and mindspace and time, Self-Censorship as a poetic agent is taken as:

– A legitimate protection between what is private and what becomes public;

– The unspeakable by the limits of language;

– The happy ‘impediment’ of the awareness of the unconscious, even when there is a deep self-knowledge.

C@rd*-writing or epistol@ry writing – as structuring as it is – clearly shows all the process/action of this thesis/work; this action is determined by the exchange of mail between myself and my supervisor that, though limited in time, has been kept going until today.

This correspondence has been the prompting element or Soul of this Document body/artist edition and the justification for both the importance of exclusively Sharing with Another person, and the resulting Self-censorship I have performed during all the re-readings done along the past years. Re-reading these documents also prompted the introduction of new elements of information, both by re-censoring and by withdrawing previous censorial trials, in a private performative writing that resulted from all the decisions of this un-ended life path.

Therefore, Works of Art are formal plastic expressions – or thoughts that turn into actions – which, by their autonomy and communicating ability are felt, can activate sensations and potentially stimulate synaesthesia and, after the Socialisation and contact with Others, become Artistic Practices.

Each one will feel them according to their own education, their culture and, therefore, their living experience and their predisposition; creators will be those whose life is closely centred on the expression of feeling through different processes and materializations.

Consequently, it is within a combination between what we have already lived and what is being lived (and which already belongs to the past, due to the ephemeral quality of every moment) that we try to expose creation processes, in a creative manner, resorting to Memory and to Recollection, through the Impulse of Creative Imagination, while being aware of our capacity to recreate – whether or not in a mimetic way – which naturally implies a non-narrative and inconclusive structure.

Last but not least, the complementary character of Artistic Creation and Teaching Practice becomes evident not only on the examples that are presented but also in the way classes are taught – using strategies and guidelines that are based on sharing and Community Dialogue – in which the students are the main witnesses, and that took place during approximately 70% of the total period that ran from the enrolment to the handing in of this Doctorate thesis/work.

Author(s)
Year 2011
Type Thesis
Institution Faculdade de Belas Artes da Universidade do Porto
Degree PhD
Supervisor(s) Professor Doutor Enric Tormo Ballester
Language Português
Field Art, Sculpture