Alvas, quase-almas, como alvas Sentir-se entre o olho e o esp\u00edrito, diria eu, diante dos trabalhos ora apresentados por Bel Barcellos. Sim, porque parecem precipitar um di\u00e1logo entre opostos de nossa percep\u00e7\u00e3o, indicando-nos da materialidade \u00e0 imaterialidade que possu\u00edmos. Porque nos d\u00e3o a impress\u00e3o de querer relacionar um qu\u00ea de real e outro de ideal que nos habita, levando-nos a refletir sobre o que vemos ou imaginamos, qui\u00e7\u00e1 sonhamos, enfim… Penso ver aqui um h\u00edfen entre corpo<\/em> e alma<\/em>.<\/p>\n Essa atmosfera espiritual envolvendo o conjunto exposto pode-se intuir desde o nome atribu\u00eddo \u00e0 mostra, \u201cDe t\u00e3o alvas, quase almas\u201d \u2013 passando pelos t\u00edtulos e n\u00fameros de suas s\u00e9ries, assim como pela fei\u00e7\u00e3o de seus trabalhos \u2013, at\u00e9 a ret\u00f3rica que nele se desenvolve, mas n\u00e3o s\u00f3. A pr\u00f3pria concep\u00e7\u00e3o de sua montagem, remete \u00e0 rela\u00e7\u00e3o iman\u00eancia\/transcend\u00eancia, lan\u00e7ando a nossos sentidos a clara e correlata dicotomia: raz\u00e3o e emo\u00e7\u00e3o.<\/p>\n Num m\u00f3dulo observamos seis s\u00e9ries de pequenos desenhos sobre papel[1] \u2013 antes vigorosos tra\u00e7os sobre vegetal, que, gra\u00e7as \u00e0 t\u00e9cnica do decalque, repousam, esmaecidos e leves, nos tons do marfim ao cinza, sobre o papel do tipo canson<\/em>, fabriano<\/em>\u2026 \u2013, ent\u00e3o, racionalmente contidos em caixas emolduradas, s\u00e9rie por s\u00e9rie, montados \u00e0 maneira linear, em ordem cartesiana sobre o plano expositivo. Enquanto em outro, seguindo racionalidade oposta, experimentamos a s\u00e9rie de amplos desenhos sobre tecido[2] \u2013 incluindo linhas bordadas em fios de nuances coloridas, sutis como \u00e1gua ou pulsantes como sangue, al\u00e9m da gama do negro ao cinza, peculiar aos tra\u00e7ados a grafite, que resultam delicadamente aquosos sobre len\u00e7\u00f3is brancos \u2013, assim, dramaticamente lan\u00e7ados como elemento c\u00eanico na galeria, quais alvas ou almas de linho[3], como se o espa\u00e7o expositivo, de fato, teatral, fosse.<\/p>\n Do desenho \u00e0 transpar\u00eancia fluida, s\u00e3o s\u00e9ries alvas semelhantes a almas, mas tamb\u00e9m a alvas[4] ou finalidades centrais. Trata-se, aqui, de uma produ\u00e7\u00e3o, mediante a qual Bel Barcellos mostra o resultado de pesquisas \u2013 diga-se, levadas \u00e0 exaust\u00e3o \u2013, realizadas ap\u00f3s seis longos anos, acerca do desenho e da figura sobre papel e pano. Acredito eu, tamb\u00e9m e concomitantemente, acerca de si.<\/p>\n Numa delas, uma investiga\u00e7\u00e3o formal questiona o desenho enquanto modelo representativo. Mediante linha e grafite sobre tecido, aguado por solvente, bem como o transfer<\/em> a grafite sobre papel, preparado com bast\u00e3o \u00f3leo \u2013 t\u00e9cnicas simples somadas ao tra\u00e7ado, tamb\u00e9m bordado e naturalmente sens\u00edvel da artista \u2013, Bel nos faz transitar entre experimenta\u00e7\u00f5es perceptivas ora lineares, ora pict\u00f3ricas. E, num lapso de tempo, apreender como resultado perceptivo figuras leves, por vezes quase em movimento, fluidas, transparentes, mas sobriamente luminosas ou inquietantemente claras.<\/p>\n Essa verve<\/em> transcendente que nos toma em rela\u00e7\u00e3o aos trabalhos aqui expostos adv\u00e9m, em especial, da outra pesquisa proposta pela artista: uma investiga\u00e7\u00e3o conceitual a respeito da figura enquanto modelo ret\u00f3rico. Ap\u00f3s trabalhar e retrabalhar a figura de maneiras distintas em sua produ\u00e7\u00e3o art\u00edstica \u2013 fosse sob a forma da abstra\u00e7\u00e3o, fosse \u00e0 maneira de personagens ou figurinos, fosse, ainda, singela como puro tra\u00e7o ou exuberante como sofistica\u00e7\u00e3o crom\u00e1tica de muitas cerdas \u2013, Bel parece querer insinuar hist\u00f3rias mediante suas silhuetas, incorporando, agora, uma literalidade quase ret\u00f3rica em seu trabalho, como prov\u00e1vel legado c\u00eanico de uma artista tamb\u00e9m cen\u00f3grafa.<\/p>\n Se, aqui, a figura tra\u00e7ada \u00e9 feminina, ent\u00e3o, a artista desdobra sua investiga\u00e7\u00e3o em dire\u00e7\u00e3o ao universo espiritual feminino, constituindo, assim, um discurso por meio dessas s\u00e9ries de desenhos, como diz ela, para \u201cfalar da mulher no curso dos s\u00e9culos\u201d. N\u00e3o \u00e9 sem motivo, portanto, que na maioria das s\u00e9ries as indument\u00e1rias usadas n\u00e3o possuem uma linha capaz de relacion\u00e1-las a cronologia, perfil ou \u00e2mbito exatos. Flertando, entretanto, com poss\u00edveis nexos hist\u00f3ricos \u2018estabelec\u00edveis\u2019, digamos, brincam de tempo, tipos e personagens na esfera do assunto representado.<\/p>\n Assim, ao observarmos suas figuras, tanto podemos identificar bruxas quanto freiras, devassas ou castas, voluptuosas ou voluntariosas, libertinas ou libert\u00e1rias, submissas ou guerreiras, selvagens ou refinadas, santas ou diabas. Mas o que a artista parece querer nos apresentar \u2013 e nisso, percebam, reside sua terceira e fundamental pesquisa, ou investiga\u00e7\u00e3o existencial \u2013 \u00e9 a feminilidade em seus ciclos, assim como a Lua em seus mist\u00e9rios quase medi\u00fanicos, ora oculta, ora insinuante, ora exuberante, ora t\u00edmida; ora toda, ora parte, ora metade, ora nenhuma. E sendo, pois, tel\u00farica ou celestial, girando entre a Terra e o Sol, quer descobrir-se ou reconhecer-se nessa \u00f3rbita como elipse de fertilidade e luz.<\/p>\n S\u00e3o mulheres em s\u00edntese, em transe, em esp\u00edrito, em crise, em metamorfose. Insones ou desnudas, insinuando o lado vermelho \u2013 n\u00e3o de Marte, mas de V\u00eanus. Deusas sedutoras como serpentes ou dem\u00f4nios, implicando pecados e sacrif\u00edcios \u2013 \u201cquem limpar\u00e1 o sangue de nossas m\u00e3os?\u201d, indaga a artista. Imaculadas como pombas ou l\u00edrios, suscitando abnega\u00e7\u00e3o e submiss\u00e3o frente ao divino \u2013 Salve Maria, Nossa Rainha!… S\u00e3o, pois, inspiradoras como l\u00e1grimas, lib\u00e9lulas, rosas ou cora\u00e7\u00f5es encarnados…Melhor, Musas[5] como estrelas, por\u00e9m, n\u00e3o somente V\u00e9sper, antecedendo a noite, mas antes de tudo, \u00e0 maneira d\u2019Alva. Sim, Estrela d\u2019Alva branquejando o horizonte, precedendo o dia… Alva: alvor primeiro, nitidez do princ\u00edpio, divino motu continuum<\/em> \u2013 manifestando a vida \u2013, quase-alma, como alva, qual X num mapa alvicelestial[6]\u2026 em si: meio e fim!<\/p>\n Notas<\/p>\n [1] \u201cAlvas almas\u201d (sete desenhos evocando religiosidade e espiritualidade); \u201cCorpo estranho\u201d (sete desenhos remetendo a transes medi\u00fanicos); \u201cEncarnadas\u201d (seis desenhos acerca de sacrif\u00edcios ou rituais); \u201cTrabalho de mulher, brinquedo de crian\u00e7a\u201d (10 desenhos relacionando a espiritualidade existente entre a curiosidade pueril e a \u00edndole feminina); \u201cElas v\u00eam trazer encanto ao mundo (cinco nus em uma moldura); e, por fim,\u201cDesassossego\u201d (sete desenhos sobre a ang\u00fastia do estado insone).<\/p>\n Observe-se nesta \u00faltima s\u00e9rie o contrapondo estabelecido entre a iman\u00eancia do corpo e a transcend\u00eancia do esp\u00edrito. O corpo, como chumbo, n\u00e3o liberta a leveza do esp\u00edrito. Ressalte-se, ainda, o fato de nessa s\u00e9rie a indument\u00e1ria n\u00e3o ser alva, mas sombria.<\/p>\n [2] Cujo t\u00edtulo d\u00e1 nome a exposi\u00e7\u00e3o: \u201cDe t\u00e3o alvas quase almas\u201d (nove desenhos sobre len\u00e7\u00f3is brancos que, explorando \u00edcones de f\u00e9 ou religiosidade, somados a efeitos pl\u00e1sticos de movimentos, remetem ao par corpo\/esp\u00edrito).<\/p>\n [3] O jogo de palavras justifica-se pelo fato de alva tamb\u00e9m significar veste talar ou t\u00fanica at\u00e9 os p\u00e9s de tecido branco usada por condenados, rumo ao sacrif\u00edcio, ou por sacerdotes para celebra\u00e7\u00f5es e of\u00edcio lit\u00fargico e, assim, assemelhar-se \u00e0 imagem do arqu\u00e9tipo criado para fantasmas, esp\u00edritos e, portanto, almas.<\/p>\n [4] Parte branca do alvo.<\/p>\n [5] Feliz analogia, visto que a s\u00e9rie de desenhos sobre tecido possui nove len\u00e7\u00f3is, assim como musa ou cada uma das nove filhas de Zeus e Mnem\u00f3sine, que presidia as artes e as ci\u00eancias que tamb\u00e9m totalizavam nove.<\/p>\n [6] Men\u00e7\u00e3o \u00e0 performance Alviceleste<\/em>, de M\u00e1rcia X, realizada nas Cavalari\u00e7as da EAVPL (2004\/ RJ) em raz\u00e3o do forte di\u00e1logo que se estabelece com esses trabalhos de Bel Barcellos.<\/p>\n<\/div> Whiteness, quasi-souls, lightness When looking at the work now exhibited by Bel Barcellos, I would say that it is like feeling between the gaze and the spirit. Because it seems to hasten the dialogue between opposite points of our perception, ranging from our materiality to immateriality. Because it gives us the impression of wanting to relate something real to an ideal something else alive in us, causing us to reflect on what we see or imagine, or maybe even dream, in short\u2026 I think I see here a link between body and soul.<\/em><\/p>\n We can feel this spiritual atmosphere embracing all her work ranging from the name given to the exhibition, \u201cWhiteness, quasi-souls\u201d \u2013 moving through the titles and numbers of the series, and the manner of her work \u2013 to the rhetoric developed therein, but not just that. The very concept of her exhibition design leads us to an immanence\/transcendence relationship, sending a clear and correlated dichotomy to our senses: reason and emotion.<\/em><\/p>\n In one module we see six series of small drawings on papes[1] \u2013 originally vigorous lines on vegetal paper and, thanks to the transfer technique, they rest, faded and light, on tones ranging from ivory to gray, on Canson, Fabriano paper\u2026 \u2013, and then rationally contained in framed boxes, series after series, set linearly in Cartesian order on the exhibition plane. In another module, in contrasting logic, we see a series of large drawings on fabric[2] \u2013 including embroidered lines in threads with nuances of color, subtle like water or pulsating like blood, alongside the black and gray tones peculiar to sketching with pencil and oil bar, resulting in delicate watery touches on white sheets \u2013, thus, dramatically set like a backdrop in the gallery \u2013 linen tunic or souls[3], as if the exhibition space was, in fact, a stage.<\/em><\/p>\n From drawing to fluid transparency the series are white like souls, but also targets[4] or primary goals. Here we have a production in which Bel Barcellos shows the results of her extremely thorough research over six long years on drawing the figure on paper and cloth. And at the same time about herself, I might even say.<\/em><\/p>\n In one of them, a formal investigation raises the question of drawing as a representative model. By using thread and pencil on fabric, moistened by solvent, and the pencil transfer to the paper painted and spread with oil bar \u2013 simple techniques added to the artist\u2019s also embroidered and naturally sensitive lines\u2013, Bel takes us on a trip through sometimes linear and at other times pictorial perspective experiences. And, in a moment, we see the result in weightless figures, sometimes almost in motion, fluid, transparent, but darkly luminous or disturbingly clear.<\/em><\/p>\n This transcendent verve we feel in relation to her work on display here is transmitted especially from another study proposed by the artist: a conceptual investigation of the figure as a rhetorical model. After working and reworking the figure in different ways as she creates her art \u2013 in abstract form or in characters and costumes, or even unique like a pure line, or exuberant with multiple brushstrokes in chromatic sophistication \u2013, Bel seemingly wants to insinuate stories into her silhouettes, now incorporating an almost rhetorical literary in her work, like a probable theatrical legacy of an artist who is also a set designer.<\/em><\/p>\n As the sketched figure here is female, then the artist furthers her investigation into the female spiritual universe, leading to a discourse trough these series of drawings in order, as she says, to \u201cspeak of women over the centuries\u201d. There is a reason, therefore, why in most of the series the vestments cannot be attributed to a precise timeline, profile or sphere. Flirting, then, with possible \u2018establishable\u2019 historic links, say, they play with time, types and characters within the sphere of the exhibited subject.<\/em><\/p>\n So when we look at her figures, we may see witches or nuns alike, depraved or virtuous, voluptuous or wilful, libertines or libertarian, submissive or warriors, fierce or refined, saints or devils. But what the artist apparently would like to show us \u2013 and this is where lies, you see, her third and fundamental study, or existential investigation \u2013 are the cycles of femininity, like the moon in its almost mediumistic mysteries, sometimes veiled and at other times insinuating, or exuberant or timid; sometimes all of it, then part, half or none at all. And so being terrestrial or celestial, revolving between the Earth and the Sun, it strives to be discovered or acknowledge in this orbit as an eclipse of fertility and light.<\/em><\/p>\n They are women in synthesis, trance, spirit, crisis, or metamorphosis. Sleepless or naked, suggestions of scarlet \u2013 Venus rather than Mars. Seductive goddesses like serpents or demons, implying sin and sacrifice \u2013 \u201c who will clean the blood from our hands?\u201d asks the artist. They are immaculate, like doves or lilies, suggesting selflessness and submission before the divine \u2013 Hail Mary, Our Queen!\u2026 They are then inspiring, like tears, dragonflies, roses or ruby-red hearts\u2026 Or even muses[5] like stars, not only the evening star, heralding the night, but even more like the morning star. Yes, the morning star blanching the horizon, daybreak\u2026 Alva: first dawn, clarity of principle, divine motu continuum \u2013 expression of life \u2013, quasi-soul, lightness, like a great target, an X on an alvicelestial chart \u2026[6] In itself: means and end!<\/em><\/p>\n Footnotes<\/em><\/p>\n [1] \u201cWhite souls\u201d (seven drawings evoking religiosity and spirituality); \u201cForeign body\u201d (seven drawings referring to mediumistic trances); \u201cIncarnate\u201d (six drawings about sacrifices or rituals); \u201cWomen\u2019s work, child\u2019s play\u201d (10 drawings relating to spirituality between childish curiosity and female nature); \u201cThey come to delight the world\u201d (five nudes in frame); and lastly, \u201cUnrest\u201d (seven drawings on the distress of insomnia). In the last series there is a counterpoint between the immanence of the body and the transcendence of the spirit. The body, like lead, does not liberate the lightness of the spirit. And in fact, it underscores that in this series the vestments are not white but somber.<\/em><\/p>\n [2] Its title gives the name to the exhibition: \u201cWhiteness, quasi-souls\u201d (nine drawings on white linen sheets that, exploring icons of faith or religiosity, plus the aesthetic effects of movements, refer to the body\/spirit duo).<\/em><\/p>\n [3] The play of words is justifiable by the fact that \u2018alva\u2019 also means an ankle length shift or white fabric tunic worn by the condemned on their way to sacrifice, or by priests for liturgical offices and masses, and thus similar to the image of the archetype created for ghosts, spirits and, therefore, souls.<\/em><\/p>\n [4] The centre of a target.<\/em><\/p>\n [5] Fortunate analogy, since the series of drawings on cloth has nine sheets, as well as a muse or each of the nine daughters of Zeus and Mnemosyne, goddess of the arts and sciences, also nine in all.<\/em><\/p>\n [6] Reference to the Alviceleste performance by Marcia X at the Parque Lage stables (Rio de janeiro, 2004), as a result of the strong dialogue from this work by Bel Barcellos.<\/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-416","post","type-post","status-publish","format-standard","hentry","category-texts"],"_links":{"self":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/416","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=416"}],"version-history":[{"count":8,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/416\/revisions"}],"predecessor-version":[{"id":1055,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/416\/revisions\/1055"}],"wp:attachment":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/media?parent=416"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/categories?post=416"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/tags?post=416"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSonia Salcedo del Castillo
\n2004
\n<\/strong><\/p>\n<\/div>
\n
\nSonia Salcedo del Castillo
\n2004
\n<\/strong><\/em><\/p>\n<\/div>
\n