Conex\u00f5es<\/strong> Encontros e conex\u00f5es permanecem o motivo principal nas obras de Bel Barcellos. Movida por um desejo de materializar os fios imagin\u00e1rios que ligam as pessoas, a artista costura hist\u00f3rias de encontros, sentimentos e afetos. Em trabalhos anteriores, ela buscou usar a figura humana de forma mais ic\u00f4nica, onde as fisionomias das figuras eram elaboradas para universaliz\u00e1-las: rostos e silhuetas simplificadas e idealizadas no tra\u00e7ado preto da linha que contrapunha o tecido alvo do fundo. O interesse de Bel residia antes na express\u00e3o de conflitos, desejos, sil\u00eancios, buscas entre outros sentimentos expressos atrav\u00e9s de seus personagens imagin\u00e1rios. Nas obras que comp\u00f5em Conex\u00f5es, por\u00e9m, o tracejar toma caracter\u00edsticas apropriadas de pessoas reais, com cabelos distintos, pele, altura, idade e corpo que singularizam cada um. Pessoas reais que, na vis\u00e3o da artista, se transformam em ponto e linha, concedendo \u00e0 obra de arte suas hist\u00f3rias subjetivas.<\/p>\n A costura e o bordado s\u00e3o, historicamente, atividades relacionadas ao feminino. Como um ensinamento geracional de m\u00e3es \u00e0s filhas, ou av\u00f3s \u00e0s netas, t\u00e9cnicas foram sendo ensinadas como forma de ornar ou consertar. T\u00e9cnicas que hoje s\u00e3o compreendidas quase-obsoletas, de forma que acabam ganhando valor hist\u00f3rico, simb\u00f3lico, sentimental e art\u00edstico. Se o bordado visou ornamentar pe\u00e7as de roupa ou de casa em algum momento, nas telas de Bel Barcellos a concentra\u00e7\u00e3o do vis\u00edvel, da apar\u00eancia f\u00edsica de cada indiv\u00edduo, pretende compreender a complexidade emocional do ser.<\/p>\n O impacto inicial de Conex\u00f5es se firma na composi\u00e7\u00e3o inteira das trinta telas exibidas lado-a-lado, com o mesmo intervalo entre elas, o mesmo fundo de lona crua, ressaltando a complexidade de cada detalhe executado pela artista. Figuras se portam eretas, de perfil, se entreolhando. As sutis linhas beges ao fundo – cor que iguala o tecido envolto no chassis – parecem cruzadas aleatoriamente mas, a um olhar mais atento, se conectam apenas dentro de cada par. S\u00e3o fios simbolizando as conex\u00f5es criadas dentro de cada relacionamento, de cada universo individual que se tornou um casal ao passar do tempo. Essas hist\u00f3rias talvez n\u00e3o ser\u00e3o explicitadas para o visitante, que por si s\u00f3 pode criar sua pr\u00f3pria narrativa – seu pr\u00f3prio entendimento de cada um.<\/p>\n \u00c9 curioso notar a personalidade de cada casal. Dois homens que se parecem no retrato bordado se entreolham de maneira quase-espelho como se s\u00f3 tivessem mudado as cores das roupas e dos cabelos. Um outro par demonstra seu amor comum pelo Flamengo, ambos usando camisetas das cores do time. Ao observ\u00e1-los, nossas mentes nos levam direto ao por que – ser\u00e1 que s\u00e3o t\u00e3o fascinados assim? Ou ser\u00e1 que est\u00e3o se preparando para um grande jogo? Mas o repentino se encontra nas conclus\u00f5es que v\u00eam a seguir – s\u00e3o vidas que come\u00e7am a se moldar em conjunto ao passar do tempo. Uma esp\u00e9cie de mimesis involunt\u00e1ria reativa ao conv\u00edvio.<\/p>\n Alguns pares parecem improv\u00e1veis – est\u00e3o usando roupas que n\u00e3o se adequam a situa\u00e7\u00e3o em que o outro se encontra, como uma mulher que se est\u00e1 descal\u00e7a, possivelmente fotografada no conforto de sua casa, enquanto sua parceira veste cal\u00e7a e sand\u00e1lias. Existe tamb\u00e9m a propor\u00e7\u00e3o de cada par, que as vezes um \u00e9 mais alto que o outro, ou mais velho, ou mais magro, mas tudo tamb\u00e9m para lembrar que o amor \u00e9 o fator de maior import\u00e2ncia. No final, pouco importa se as apar\u00eancias n\u00e3o combinam, quando o importante est\u00e1 logo abaixo das camadas do plano vis\u00edvel. Se o trabalho da Bel Barcellos dessa vez foca nos figurinos e apar\u00eancia de cada personagem, \u00e9 porque a hist\u00f3ria de cada par se consolida por si, tanto no imagin\u00e1rio do visitante quanto na mem\u00f3ria de quem se v\u00ea no retrato.<\/p>\n<\/div> Connections<\/i><\/strong> Encounters and connections remain the main motif in Bel Barcellos\u2019 work. Moved by a desire to materialize the imaginary threads that connect people, the artist sews stories of encounters, feelings and affections. In previous works, she strived to use the human figure in a more iconic way, where the physiognomy of the figures was designed to universalize them: simplified faces and silhouettes, idealized in the black outline that rendered them visible against the background. Bel\u2019s interest resides mostly in the expression of conflicts, desires, silences, yearnings, amongst other feelings expressed by her imaginary characters. In the works that make up Connections though, the outlining represents characteristics drawn from real people, with distinct hair, skin, height, age and a body that singularizes them. Real people that, by the artist\u2019s vision, are transformed into stitches and threads granting the artwork its subjective histories.<\/em><\/p>\n Sewing and embroidery are, historically, activities related to the feminine universe. As a generational knowledge passed from mother to daughter, or from grandmother to granddaughter, techniques were taught as a way to adorn or mend. Techniques that are seen today as nearly obsolete, in a way that they end up gaining historical, symbolic, artistic and sentimental value. If embroidery once sought to adorn pieces of clothing or furniture, in Bel Barcellos\u2019 canvas, the visible aspects, the physical appearance of each individual, seeks to comprehend the emotional complexity of the being.<\/em><\/p>\n The initial impact of Connections is based on the entire composition of thirty canvasses placed side by side, with the same distance between them, the same background of raw canvas, highlighting the complexity of each detail rendered by the artist. The figures are seen upright, in profile, staring at each other. The subtle beige lines in the background \u2013 a color that matches the fabric stretched across the frame \u2013 appear as if arbitrarily crossed but, upon careful inspection, connect only within each pair. They are threads that symbolize the connections created within each relationship, of each individual universe that became a couple as time went by. These stories may not be explicit to the spectator however, who may create his own narrative, his own understanding of each piece.<\/em><\/p>\n It\u2019s interesting to note the personality of each couple. Two men that look alike in the embroidered picture stare at each other in an almost mirror-like way, as if they had only changed the colors of their hair and clothes. Another pair displays their common love for Flamengo football club, both wearing the team\u2019s t-shirt. By observing them, we start questioning the motivations \u2013 are they that fascinated? Or maybe they are preparing for an important match? But the sudden finds itself in the conclusions that follow \u2013 those are lives that start to shape themselves in connection to the passing time. A type of involuntary mimesis reactive to living amongst each other.<\/em><\/p>\n Some couples look unlikely – they use clothes that are not fitting to the situation their partner is in, like one of the women who is barefoot, possibly being photographed from the comfort of her home, while her partner is dressed in pants and sandals. There is also the issue of the proportions of each pair; sometimes one is taller than the other, or older, or thinner, but all of that also to remind us that love is the most important factor. In the end, little does it matter if appearances don\u2019t match, when what\u2019s important is beneath the layers of the visible. If Bel Barcellos\u2019 work focuses this time on the clothes and appearances of the characters, it is because the history of each pair is already consolidated, both in the spectator\u2019s imagery and in the memories of those who see themselves portrayed.<\/em><\/p>\n<\/div> Sob nossos p\u00e9s | Beneath our feet<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-242","post","type-post","status-publish","format-standard","hentry","category-texts"],"_links":{"self":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/242","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/comments?post=242"}],"version-history":[{"count":45,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/242\/revisions"}],"predecessor-version":[{"id":543,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/242\/revisions\/543"}],"wp:attachment":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/media?parent=242"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/categories?post=242"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/tags?post=242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGabriela Davies<\/strong>
\n2018<\/strong><\/p>\n<\/div>
\nGabriela Davies<\/strong><\/em>
\n2018<\/strong><\/em><\/p>\n<\/div>