Eu Tiro - Superficial reflection on time

Painting died. One time, another and once again in the History of Art. Painting resurrected.
Painting never died. It recognized the challenges and constructed from there, making it even more feasible after conceptual art, as an option to shape the idea and therefore to differentiate it from other possibilities.
In the series Eu tiro – Reflexão superficial sobre o tempo, the painting tries to be reflexive and critical, organized in chapters, like a book, with a temporal narrative that still reflects on the very act of painting and on its representation.
The works are based on a sculpture of the author’s own foot, trying to reflect on the effects of the passage of time. The piece appears physically and pictorially represented in the three triptychs, at three moments of its existence: the breaking of the mold, the accidental breaking during atransportation and other parallel stories.

The time that the mold fragment originates is premeditated.

The time that originates the fragment of marble is accidental.

The time between adds other stories.

A little like the exercise of Joseph Kosuth’s chair, the sculpture comes in three forms: the real object, its figurative representation, its abstract representation and also its sculptural reproduction.
For the spectator there are also three times. First the contemplation: the landscape, the sky, the trees, the horizon. Then the strangness. Something contradicts itself and causes discomfort. The figuration and abstraction of the same object, in an opposition between a realistic representation, of classic treatment in light and shadow, and its geometrical abstraction, rigorous and rigid, causes a certain magrittean strangeness. And finally, the reflection.

Sara Pinheiro

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